Made available in DSpace on 2016-12-08T16:52:04Z (GMT). No. of bitstreams: 1 Viviane.pdf: 1685766 bytes, checksum: cde400e3f86e0bfd20e55e3bf6139132 (MD5) Previous issue date: 2007-09-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The current research aimed to analyze projects of the theater groups that develop extension activities at the universities in the state of Santa Catarina Brazil, intending to identify the universities that stimulate, assist and promote theater plays as academic extension activities; to identify theater groups which develop academic extension activities in the state of Santa Catarina; to analyze the bonds among the theater groups, the university and the community; to analyze the project of the theater groups that develop their work at universities in the state of Santa Catarina; and to understand what is the importance of the theater as an academic extension activity nowadays in Santa Catarina. The present research has a descriptive and exploratory character. It was discovered 47 colleges and 769 graduation courses in the state of Santa Catarina by searching on the Internet and on university guides and brochures. Considering the universities that had theater groups working as academic extension, I found 10 theater groups acting like academic extension in Santa Catarina. To collect the data, an interview took place, which was recorded under the coordinator s authorization. Through the data analysis, it was possible to have an idea of how the theater groups that acted as academic extension in Santa Catarina in 2005 work, which are their objectives and expectations, as well as to identify the bonds between the universities and the theater groups / Tem como objetivo uma reflexão a respeito da música do Teatro Ventoforte. Para tanto, no primeiro capítulo a pesquisa percorre um caminho que propõe proximidades entre a poesia presente nas letras das canções dos espetáculos do Teatro Ventoforte, escritas por Ilo Krugli, e as poesias de Federico García Lorca. São investigados os elementos oníricos, humanos e populares como ponto de intersecção da obra dos dois poetas-dramaturgos. Já o segundo capítulo traça paralelos entre a música dos espetáculos do Teatro Ventoforte e a música de festa tradicional do Brasil, uma vez que ambas trazem, para o evento de que participam, nítidos elementos de celebração. Para a elaboração do trabalho, foram desenvolvidos conceitos de poesia, festa, símbolos, mitos e ritos, predicados que constituem a poética do grupo desenvolvida durante os seus trinta e três anos de atividades. Ao analisar os elementos constitutivos da obra do artista estudado, o texto procura mostrar que o diretor, ator, poeta e artista plástico Ilo Krugli continua mantendo, junto ao Teatro Ventoforte, a opção por um trabalho construído coletivamente que tem o universo simbólico humano como matéria-prima

Esta pesquisa tem por objetivo contextualizar a experiencia do grupo LUME (Nucleo Interdisciplinar de Pesquisas Teatrais da UNICAMP) dentro da tradicao do Teatro de Pesquisa do seculo XX. Na primeira parte do trabalho, identificamos o movimento historico que possibilitou a consolidacao de um teatro com base no ator no seculo XX e mapeamos os principais pontos das propostas de formacao do ator de Constantin Stanislavski, Etienne Decroux, Jerzy Grotowski e Eugenio Barba. Na segunda parte, apresentamos a proposta e os objetivos do grupo LUME, descrevemos suas linhas de pesquisa e evidenciamos como suas principais influencias foram apropriadas e reprocessadas dentro de uma forma propria de trabalhar o ator e pensar o teatro. / The objective of this research is to put into context the the experience of the group LUME (Interdisciplinary Center of Theater Research of UNICAMP) according to the XX century theater research tradition. In the first part of this work we identify the historical movement that made the consolidation of a theater based on the 20th century actor possible. We also map out the main points concerning the proposal about the actor formation established by Constantin Stanislavski, Etienne Decroux, Jerzy Grotowski and Eugenio Barba. In the second part we present the proposal and the objectives from the group LUME: we describe their research lines and put into evidence how their most important influences were appropriated and reprocessed in their own way to work the actor and think about theater.

<p>Background: The theater market has matured – supply now exceeds demand. Government funds are on a decrease, replaced by other means of financing. The city of Stockholm will be introducing a bonus system that will benefit independent theater groups that succeed to increase their revenue and attendance. Hence, the audience will play an even greater role, a tendency some free theater groups come to terms with by interacting with the audience to create value.</p><p>Thesis statement: What factors lead to the long-term survival of the independent theater groups, allowing them to benefit from the imminent bonus system?</p><p>Purpose: To analyze and evaluate the marketing strategies of the independent theater groups, in reference to their capability of long-term survival through value creation along with the audience, thereby increasing attendance and ticket revenue.</p><p>Methodology: The study combines quantitative and qualitative approaches and methods. Interviews were conducted with the producers at three independent theater groups in the city of Stockholm. The questionnaire was answered by 90 members of the independent theater group audience.</p><p>Areas of theory: Value creation, marketing communication and customer characteristics.</p><p>Results: There is a lack of coherence between the marketing strategies of the independent theater groups and the characteristics of the audience. Hence, the independent theater groups are currently facing poor conditions for long-term survival through growth in audience and revenue. However, if the strategies are adjusted to the audience’s inclination to participate in the value creation, the conditions may improve.</p><p>Conclusions: The important factors leading to long-term survival of the independent theater groups, thereby increasing audience participation and ticket revenue, are: ”Co-production of values”, ”Enabling” and ”Word of mouth”. Co-production of value must however not apply to the artistry, since the audience seems to guard artistic freedom.</p> / <p>Bakgrund: Teatermarknaden har mognat – utbud övergår efterfrågan. Bidragen minskar till förmån för en breddad finansiering. Ett bonussystem ska införas i Stockholms stad, vilket kommer att gynna fria teatergrupper som ökar sina intäkter och sitt publikantal. Publiken spelar således en allt viktigare roll och vissa fria teatergrupper försöker hantera detta genom att värdeskapa i interaktion med publiken.</p><p>Problemformulering: Vilka faktorer är viktiga för att fria teatergrupper ska överleva långsiktigt och sedermera gynnas av det förestående bonussystemet?</p><p>Syfte: Att analysera och utvärdera fria teatergruppers marknadsföringsstrategier med avseende på deras förutsättningar att överleva långsiktigt genom att värdeskapa med publiken och på så sätt öka sitt publikantal och sina biljettintäkter.</p><p>Metod: Studien kombinerar kvantitativa och kvalitativa ansatser och metoder. Intervjuer har genomförts med producenterna för tre fria teatergrupper i Stockholms stad och enkätundersökningar har genomförts med totalt 90 personer i de fria teatergruppernas publik.</p><p>Teoriområden: Värdeskapande, marknadskommunikation och kundegenskaper.</p><p>Resultat: Studien visar att de fria teatergruppernas publik är villig att skapa värde tillsammans med teatergrupperna. Såtillvida har de fria teatergrupperna goda förutsättningar att överleva långsiktigt genom att värdeskapa med sin publik. Det råder dock brist på överensstämmelse mellan de fria teatergruppernas strategier och publikens egenskaper. För att uppnå långsiktig överlevnad genom att öka sitt publikantal och sina biljettintäkter måste de fria teatergrupperna anpassa sina strategier till publikens vilja att deltaga i värdeskapandet.</p><p>Slutsats: De faktorer som är viktiga för att de fria teatergrupperna ska överleva långsiktigt och sedermera gynnas av det förestående bonussystemet är ”samproduktion av värde”, ”möjliggörande” och ”word-of-mouth”. Samproduktionen av värde bör dock inte gälla den konstnärliga verksamheten, då publiken tycks värna den konstnärliga friheten.</p>

Background: The theater market has matured – supply now exceeds demand. Government funds are on a decrease, replaced by other means of financing. The city of Stockholm will be introducing a bonus system that will benefit independent theater groups that succeed to increase their revenue and attendance. Hence, the audience will play an even greater role, a tendency some free theater groups come to terms with by interacting with the audience to create value. Thesis statement: What factors lead to the long-term survival of the independent theater groups, allowing them to benefit from the imminent bonus system? Purpose: To analyze and evaluate the marketing strategies of the independent theater groups, in reference to their capability of long-term survival through value creation along with the audience, thereby increasing attendance and ticket revenue. Methodology: The study combines quantitative and qualitative approaches and methods. Interviews were conducted with the producers at three independent theater groups in the city of Stockholm. The questionnaire was answered by 90 members of the independent theater group audience. Areas of theory: Value creation, marketing communication and customer characteristics. Results: There is a lack of coherence between the marketing strategies of the independent theater groups and the characteristics of the audience. Hence, the independent theater groups are currently facing poor conditions for long-term survival through growth in audience and revenue. However, if the strategies are adjusted to the audience’s inclination to participate in the value creation, the conditions may improve. Conclusions: The important factors leading to long-term survival of the independent theater groups, thereby increasing audience participation and ticket revenue, are: ”Co-production of values”, ”Enabling” and ”Word of mouth”. Co-production of value must however not apply to the artistry, since the audience seems to guard artistic freedom. / Bakgrund: Teatermarknaden har mognat – utbud övergår efterfrågan. Bidragen minskar till förmån för en breddad finansiering. Ett bonussystem ska införas i Stockholms stad, vilket kommer att gynna fria teatergrupper som ökar sina intäkter och sitt publikantal. Publiken spelar således en allt viktigare roll och vissa fria teatergrupper försöker hantera detta genom att värdeskapa i interaktion med publiken. Problemformulering: Vilka faktorer är viktiga för att fria teatergrupper ska överleva långsiktigt och sedermera gynnas av det förestående bonussystemet? Syfte: Att analysera och utvärdera fria teatergruppers marknadsföringsstrategier med avseende på deras förutsättningar att överleva långsiktigt genom att värdeskapa med publiken och på så sätt öka sitt publikantal och sina biljettintäkter. Metod: Studien kombinerar kvantitativa och kvalitativa ansatser och metoder. Intervjuer har genomförts med producenterna för tre fria teatergrupper i Stockholms stad och enkätundersökningar har genomförts med totalt 90 personer i de fria teatergruppernas publik. Teoriområden: Värdeskapande, marknadskommunikation och kundegenskaper. Resultat: Studien visar att de fria teatergruppernas publik är villig att skapa värde tillsammans med teatergrupperna. Såtillvida har de fria teatergrupperna goda förutsättningar att överleva långsiktigt genom att värdeskapa med sin publik. Det råder dock brist på överensstämmelse mellan de fria teatergruppernas strategier och publikens egenskaper. För att uppnå långsiktig överlevnad genom att öka sitt publikantal och sina biljettintäkter måste de fria teatergrupperna anpassa sina strategier till publikens vilja att deltaga i värdeskapandet. Slutsats: De faktorer som är viktiga för att de fria teatergrupperna ska överleva långsiktigt och sedermera gynnas av det förestående bonussystemet är ”samproduktion av värde”, ”möjliggörande” och ”word-of-mouth”. Samproduktionen av värde bör dock inte gälla den konstnärliga verksamheten, då publiken tycks värna den konstnärliga friheten.

Esta pesquisa tem por objetivo contextualizar a experiencia do grupo LUME (Nucleo Interdisciplinar de Pesquisas Teatrais da UNICAMP) dentro da tradicao do Teatro de Pesquisa do seculo XX. Na primeira parte do trabalho, identificamos o movimento historico que possibilitou a consolidacao de um teatro com base no ator no seculo XX e mapeamos os principais pontos das propostas de formacao do ator de Constantin Stanislavski, Etienne Decroux, Jerzy Grotowski e Eugenio Barba. Na segunda parte, apresentamos a proposta e os objetivos do grupo LUME, descrevemos suas linhas de pesquisa e evidenciamos como suas principais influencias foram apropriadas e reprocessadas dentro de uma forma propria de trabalhar o ator e pensar o teatro. / The objective of this research is to put into context the the experience of the group LUME (Interdisciplinary Center of Theater Research of UNICAMP) according to the XX century theater research tradition. In the first part of this work we identify the historical movement that made the consolidation of a theater based on the 20th century actor possible. We also map out the main points concerning the proposal about the actor formation established by Constantin Stanislavski, Etienne Decroux, Jerzy Grotowski and Eugenio Barba. In the second part we present the proposal and the objectives from the group LUME: we describe their research lines and put into evidence how their most important influences were appropriated and reprocessed in their own way to work the actor and think about theater.