Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2017-05-22T10:38:35Z No. of bitstreams: 2 Dissertação - Rodrigo Peixoto Barbara - 2017.pdf: 2301704 bytes, checksum: f4ba0c98b2ea5cea2c9f830b6a1c4b21 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-22T10:43:16Z (GMT) No. of bitstreams: 2 Dissertação - Rodrigo Peixoto Barbara - 2017.pdf: 2301704 bytes, checksum: f4ba0c98b2ea5cea2c9f830b6a1c4b21 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-22T10:43:16Z (GMT). No. of bitstreams: 2 Dissertação - Rodrigo Peixoto Barbara - 2017.pdf: 2301704 bytes, checksum: f4ba0c98b2ea5cea2c9f830b6a1c4b21 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The Theater of Cruelty is an Artaudian artistic manifestation that shook the representative Western aesthetic bases by returning the ritual, magic and life suppressed by Western theater to the performing arts, also highlighting controversial subjects / themes silenced by a ruling class, similarly as Friedrich Nietzsche and Gilles Deleuze did with their philosophical thoughts. In view of this, it is proposed with this Master's Dissertation, to (un)fold this Theater of Cruelty having as a theoretical subsidy, besides the studies of Antonin Artaud, the investigations of Nietzsche, Deleuze and some other rebellious thinkers. Through this unfolding, one studies the possible cruel plot given by the Philosophy-Art-Life conjunction and of that, the link between Tragedy, Dionysus and the Artaudian Theater. In view of this panorama, one wonders: what unites these cruel-artist thinkers? What do Nietzsche's Tragedy and the god Dionysus lend to the Theater of Cruelty of Artaud? To this end, the theoretical clause presented here rests on the attempt to account for a study that shows the rhizomatic agreement between these three thinkers and subversive thoughts having as central axis the Theater of Cruelty. Therefore, this theater is staged to propose a connection between Artaudian Cruelty and the revolutionary powers of the Nietzschean and Dionysian tragic. / O Teatro da Crueldade é uma manifestação artística artaudiana que estremeceu as bases estéticas representativas ocidentais devolvendo às artes cênicas o ritual, a magia e a vida suprimida pelo teatro ocidental, evidenciando, também, assuntos/temas polêmicos silenciados por uma classe dominante, similarmente como fizeram Friedrich Nietzsche e Gilles Deleuze com seus pensamentos filosóficos. Diante disso, propõe-se com essa Dissertação de Mestrado, (des)dobrar esse Teatro da Crueldade tendo como subsídio teórico, além dos estudos de Antonin Artaud, as investigações de Nietzsche, Deleuze e alguns outros pensadores rebeldes. Por intermédio desse desdobramento, estuda-se a possível trama cruel dada pela conjunção Filosofia-Arte-Vida e, a partir dessa, o enlace entre Tragédia, Dioniso e o Teatro artaudiano. A partir desse panorama apresentado, pergunta-se: o que une esses pensadores artistas-cruéis? O que a Tragédia de Nietzsche e o deus Dioniso emprestam ao Teatro da Crueldade de Artaud? Para tanto, o recorte teórico que aqui se apresenta repousa na tentativa de dar conta de um estudo que mostre o acordo rizomático entre esses três pensadores e pensamentos subversivos tendo como eixo central o Teatro da Crueldade. Logo, esse teatro se faz palco para propor uma ligação entre a Crueldade artaudiana e as potências revolucionárias do trágico nietzschiano e do dionisíaco.

Le théâtre de la cruauté d’Antonin Artaud (1896-1948) participe à une libération des langages artistiques au profit du sens déterminante dans l’histoire de l’art du XXème siècle. Dans ce théâtre, l’acteur représente le point de départ d’un langage originaire fondé sur le souffle et le geste qui favorise une communication affective avec le spectateur. Le théâtre musical de la cruauté de Wolfgang Rihm (1952) s’inspire de ce langage à travers les thématiques du rite, du mythe et du rêve, porteuses d’un théâtre inhérent à la vie. Ces thématiques sont propices au développement d’une vocalité qui rend perceptible la corporalité du chanteur grâce à une déconstruction de la matière langagière. Rihm exploite la matière phonique de la langue sous forme de glossolalies, cherche différents aspects du cri en tant qu’élément premier du langage, utilise le souffle comme une matière sonore. Cette vocalité rejoint son approche instrumentale qui travaille le son à partir du timbre, du rythme et de l’intensité sans chercher à l’enfermer dans une logique systémique. Intégrée au processus compositionnel, la disposition des musiciens et des chanteurs dans l’espace rejoint également la conception d’un espace scénique vivant dans le théâtre d’Artaud. Au fur et à mesure de son théâtre musical de la cruauté, Rihm laisse ses matériaux sonores inspirés par Artaud se réécrire dans une forme de palimpseste. / The theater of cruelty of Antonin Artaud (1896-1948) participates in a liberation of artistic language over decisive meaning in the history of 20th century art. In this theater the actor is the starting point for a language of origins founded on breath and gesture, which promotes affective communication with the audience. The musical theater of Wolfgang Rihm (1952) takes it’s inspiration from this language via the themes of ritual, myth, and dream, all which bear a theater inherent to life. These themes are developed through a vocalization, which renders visible the corporeality of the singer through a deconstruction of language matter. Rihm exploits the phonic matter of language in the form of glossolalia, seeking different aspects of the scream as the primal element of language, employing breath as sonorous matter. This vocalization rejoins his instrumental approach, which uses sound drawn from timbre, rhythm and intensity without seeking to enclose it within a logical system. Integrated into the compositional process, the spacial arrangement of the musicians and the singers rejoins the concept of a living scenic space in Artaud’s theater. As Rihm’ s musical theater of cruelty progresses, it allows the sonoral matter inspired by Artaud to rewrite itself in a form of palimpsest.