A presente dissertação se assume como um trabalho introdutório sobre as peculiaridades de uma prática de Teatro Documentário, demonstrando como o seu caráter estético traz em si mesmo os elementos de caráter educacional. Para isso, levantamos, teoricamente, conceitos e dados históricos, a fim de aprimorarmos nossa visão acerca do que chamamos Teatro Documentário, estabelecendo uma ponte direta com a conceituação de Documentário em Cinema, presente, em especial, nos escritos do teórico norte-americano Bill Nichols. Em seguida, exemplificamos nossas idéias com uma experiência, dentro de uma instituição de ensino, centrada em práticas embebidas por preceitos constantes no sistema de Jogos Teatrais. A encenação resultante abordou a busca por um menino romeno que, segundo algumas indicações, tocava sanfona na Praça do Patriarca, no centro da cidade de São Paulo. O tema foi pretexto para a construção palmilhada de um longo caminho urbano pelo qual se [des]escreveram muitas histórias de dor, de decepções, de desilusões e desencantos, na contramão de histórias de alegrias, de risadas, de sobrevivência, de encontro e arte. Duas estátuas-vivas, dois homens-placa, um poeta, uma moradora de rua, uma transeunte e uma gari despontaram como estrelas, numa constelação despercebida por muitos, todos os dias, nas ruas, nas praças, sob os viadutos... Uma trajetória que, enfim, revelou o próprio processo. As fontes documentais exploradas foram, em grande parte, depoimentos registrados em vídeo, evidenciando o trabalho com a imagem captada. / This dissertation presents itself as an introductory work on the peculiarities of Documentary Theater, focusing its discussion in how the approachs aesthetic aspect brings in itself the education elements. For that, theoretical concepts and historical data were collected in order to characterize our vision of Documentary Theater, establishing a link with the concepts of the documentary in Cinema, especially in the writings of the North-American scholar Bill Nicols. Secondly, we exemplify that with an experience at an educational institute, focused in practices based on the system of Theater Games. The resulting play dealt with the search of a Romanian boy that, according to some indications, played accordion at Praça Patriarca, in the downtown area of São Paulo. The theme was a pretext for the constructions of a long urban path in which many stories of pain, deception and disillusion in opposition to many stories of joy, laughter, survival, encounters and art were written. Two living statues, two homem-placas, a poet, a homeless woman, a walker and a garbage woman emerged as stars in an unnoticed constellation, everyday on the streets, squares and under the bridges. A path that revealed the process itself. The documental materials that were explored were in great part video testimonies, making evident the work with the captured image.

Nesta etnografia, o cinema japonês exibido na cidade de São Paulo entre as décadas de 1950 a 1980 é abordado a partir da memória de antigos freqüentadores das salas de cinema do bairro da Liberdade. O foco desta investigação são os significados locais atribuídos pelos públicos nikkei e não-nikkei aos filmes japoneses, às salas de cinema da Liberdade e à experiência de freqüentá-las. A experiência vivida é acionada pelo método da história de vida e ganha centralidade na análise por meio das reflexões suscitadas pela antropologia da experiência. / In this ethnography, the Japanese cinema which was shown in the city of São Paulo between 1950 and 1980 is evoked in the memories of old-time movie goers of the Liberdade district. This investigation focuses on the local meanings attributed by both nikkei and non-nikkei audiences to Japanese films, to Liberdades cinemas and to the experience of frequenting them. Lived experience, which is made accessible by the method of life history, becomes central to analysis in a reflexive process provoked by the anthropology of experience.

Contemporary operatic scenography has been undergoing broad aesthetic, theatrical and technological transformations. My dissertation analyzes the work of three key designer-directors—Robert Wilson, Achim Freyer, and Karl-Ernst Herrmann—in order to investigate the changing relationship between the visual and the theatrical in contemporary opera, as well as opera’s place within current trends in theatrical design and broader visual culture. Combining an analysis of current productions with wide-ranging archival research, I reconstruct and explore these artists’ individual stylistic development and their mutual influence. Through this focus on the hybrid figure of the contemporary designer-director, I address two key historical changes in operatic culture: first, the greatly increased importance of scenography and visuality in global opera and second, the emergence of new scenographic idioms, which have rapidly displaced the dominance of historicist and realist conventions in staging. Throughout, I show how Wilson, Freyer, and Herrmann’s work has been central to the development of a “new international style” in operatic scenography. Combining close visual analysis with historical contextualization, I examine how this style—characterized by abstraction, rich colors, striking lighting and radical theatrical effects—has transformed the look of opera, while also framing these developments within the longer history of modernist scenography, and the long-standing tensions between stylistic innovation and aesthetic traditionalism.

A presente dissertação se assume como um trabalho introdutório sobre as peculiaridades de uma prática de Teatro Documentário, demonstrando como o seu caráter estético traz em si mesmo os elementos de caráter educacional. Para isso, levantamos, teoricamente, conceitos e dados históricos, a fim de aprimorarmos nossa visão acerca do que chamamos Teatro Documentário, estabelecendo uma ponte direta com a conceituação de Documentário em Cinema, presente, em especial, nos escritos do teórico norte-americano Bill Nichols. Em seguida, exemplificamos nossas idéias com uma experiência, dentro de uma instituição de ensino, centrada em práticas embebidas por preceitos constantes no sistema de Jogos Teatrais. A encenação resultante abordou a busca por um menino romeno que, segundo algumas indicações, tocava sanfona na Praça do Patriarca, no centro da cidade de São Paulo. O tema foi pretexto para a construção palmilhada de um longo caminho urbano pelo qual se [des]escreveram muitas histórias de dor, de decepções, de desilusões e desencantos, na contramão de histórias de alegrias, de risadas, de sobrevivência, de encontro e arte. Duas estátuas-vivas, dois homens-placa, um poeta, uma moradora de rua, uma transeunte e uma gari despontaram como estrelas, numa constelação despercebida por muitos, todos os dias, nas ruas, nas praças, sob os viadutos... Uma trajetória que, enfim, revelou o próprio processo. As fontes documentais exploradas foram, em grande parte, depoimentos registrados em vídeo, evidenciando o trabalho com a imagem captada. / This dissertation presents itself as an introductory work on the peculiarities of Documentary Theater, focusing its discussion in how the approachs aesthetic aspect brings in itself the education elements. For that, theoretical concepts and historical data were collected in order to characterize our vision of Documentary Theater, establishing a link with the concepts of the documentary in Cinema, especially in the writings of the North-American scholar Bill Nicols. Secondly, we exemplify that with an experience at an educational institute, focused in practices based on the system of Theater Games. The resulting play dealt with the search of a Romanian boy that, according to some indications, played accordion at Praça Patriarca, in the downtown area of São Paulo. The theme was a pretext for the constructions of a long urban path in which many stories of pain, deception and disillusion in opposition to many stories of joy, laughter, survival, encounters and art were written. Two living statues, two homem-placas, a poet, a homeless woman, a walker and a garbage woman emerged as stars in an unnoticed constellation, everyday on the streets, squares and under the bridges. A path that revealed the process itself. The documental materials that were explored were in great part video testimonies, making evident the work with the captured image.

Este trabalho apresenta o roteiro do longa-metragem Uma Bicicleta, Minha Mãe e Dois Cinemas, que aborda o cotidiano de uma família que mora e trabalha em um cinema de bairro em Curitiba. Paralelamente ao roteiro, foi desenvolvida uma pesquisa sobre a história dos cinemas de rua de Curitiba, privilegiando depoimentos de profissionais que trabalharam na atividade exibidora. Os relatos influenciaram o formato final da dramaturgia, fornecendo indicações para a criação de personagens e situações, delimitando ainda as épocas onde acontece a estória. O roteiro resulta, portanto, em um tratamento ficcional dos testemunhos obtidos, à medida do possível o mais próximo dos relatos obtidos. A dramaturgia é aplicada na transposição do relato para o universo ficcional. / This paper presents the script of the Uma Bicicleta, Minha Mãe e Dois Cinemas, which addresses the life of a family who lives and works in a cinema district in Curitiba. Parallel to the script, it was developed a research on the history of movie theaters of Curitiba, favoring testimony from professionals who worked in the exhibitor business. The reports influenced the final form of the drama, providing directions for creating characters and situations, limiting even the times where the story happens. The script is, therefore, a fictional treatment of the evidence obtained, the closest to the reports obtained. Dramaturgy is applied in the transposition of the report to the fictional universe.

For about the first fifteen years after its commercial introduction motion picture entertainment throughout the United States was supported almost entirely by the mass of urban industrial workers, immigrants and their families. Beginning a few years before 1910 motion pictures began acquiring regular support from a limited element of the more affluent citizens until by the end of 1916 they constituted motion pictures' primary audience. This paper examines the audience development and conversion as it occurred in the downtown theaters of Portland, Oregon. Motion pictures were shown to two diverse audiences in Portland during the 1890s, regularly on a mass level to the lower income strata and sporadically to regular stage theater audiences. Their expectations differed greatly. Urban workers craved entertainment for the sake of diversion while middle and upper class audiences required responsibility and purpose in their entertainments. After the turn of the century when big time vaudeville established itself in Portland films were supported almost entirely by the lower class element in arcades and vaudeville theaters. Motion pictures in these venues catered to their audiences' tastes. During the 4-5 year period after nickelodeons developed in 1906 a small number of Portland's middle class became regular patrons, due partially to national imposition of licensing and establishment of a censorship board fostering a more respectable image. After 1910, when national support for motion pictures had been proven permanent and unsatisfied, large movie palaces emerged in Portland. These theaters and their amenities created atmospheres consistent with those of stage theaters, providing comfortable and familiar surroundings for middle class audiences. Industrywide developments such as increased story length, better quality productions and evidence of social responsibility enhanced the ease of middle class transition from the stage theater to the movie theater.

From the polluted canals of turn-of-the-century Birmingham, England, William Moxley is an ineffectual captain of industry burning for a Music Hall life. With his unlikely bride Elvina in tow, he journeys to the west coast of the United States, only to shipwreck against his lifelong dream--a vaudeville hall called "The Sunshine." In "Dear Clara," a depression-era love story, Warren Wilkerson has been a Sunshine fixture since the age of six; suddenly forced out by the theatre's back-stabbing, bootlegging "owner," Warren must resort to desperate measures in order to pay for his dying wife's insulin. Freewheeling philosopher Holly Jo is a Seattleite sausage cart owner with a bun in the oven. Having recently lost her parents, she forges a new family from the fringes of 1974 arthouse--it's "The Labor of Holly Jo Daffodil." In "Chapter Eleven," foul-mouthed Red--the Helios's manager--learns that his boss is selling out to evil Emerald Cinemas; the news triggers a long-overdue heart attack, which turns out to be the least of his worries. Beginning with the birth of the feature length and ending at the onset of the digital age, Cinerati is a comic salute to the celluloid era--a grand era spanning over a century. Featuring an eccentric ensemble where a bit player in one decade can take a lead role in the next, Cinerati celebrates the venues in which cinema was meant to be seen, and the strange families that pop up wherever the projectors flicker.

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 205-212).

Considered apart from the concrete; general; theoretical; hence, difficult; ideal. 2. A summary of epitome; a generality, in law, a compendium; in logic, an abstract idea or term; in grammer, an abstract noun, as virtue, goodness, etc.* / Department of Architecture

This thesis represents the written portion of the Degree Requirements of the Master of Fine Arts in Theatre Design. The Thesis production of HAMLET, by Wm. Shakespeare (edited by Brian C. Parkinson), was the University of Lethbridge Department of Theatre and Dramatic Arts third show of the 2011 – 2012 Mainstage Theatre season, running February 14 – 18, 2012, performed at the University Theatre in the University of Lethbridge Centre for the Arts, Lethbridge, Alberta. HAMLET was directed by Brian C. Parkinson, with the assistant direction of L. Jay Whitehead and Yvonne Mandel. Contained within this written portion of the thesis is a discussion of the design concepts for this production, along with photographic records of models, technical drawings, and other pertinent information. / viii, 176 leaves : col. ill. ; 29 cm