Cette thèse s’intéresse à un mode de réflexivité spécifique qui se dessine chez certains artistes contemporains comme Jérôme Bel, Philippe Quesne, Grand Magasin, entre autres. L’interrogation sur le théâtre – sa nature, son fonctionnement, sa nécessité et sa pertinence au sein de la société –, s’accompagne d’un souci de rapprochement avec le public, observable dans la forme des spectacles : effort de clarté, explicitation des règles du jeu, réserves par rapport au savoir-faire théâtral, mélange de références cultivées et de références populaires. Pourquoi ces productions subventionnées, jouissant de prestige et de reconnaissance au sein des institutions publiques, prennent-elles comme objet le dispositif théâtral lui-même ? Et pourquoi le font-elles de cette manière ? Le métathéâtre du début du XXe siècle, qui présentait des thèmes et structures similaires, réagissait au risque d’obsolescence de la scène, de sa faillite économique et plus encore de la perte de sa validité au sein du monde industrialisé. Notre hypothèse est que le métathéâtre contemporain repose sur un rapport ambivalent avec la représentation théâtrale : entre fascination pour son fonctionnement en tant que structure et scepticisme à l’égard de sa puissance référentielle, d’où résulte un jeu pour le jeu qui ne peut pas se permettre de se prendre au sérieux. D’autres ambiguïtés concernent le rapport au patrimoine culturel occidental, le rapport à l’altérité (sociale, esthétique) et l’inscription dans le système institutionnel. Autant de traits que l’on retrouve hors du monde artistique. Parce qu’il nous donne à voir les représentations mentales qu’ont aujourd’hui du théâtre des artistes qui occupent un rôle important dans le paysage théâtral, le métathéâtre nous est apparu comme une forme privilégiée pour cette observation. / This dissertation addresses a specific mode of reflexivity that appears in the work of certain contemporary artists, such as Jérôme Bel, Philippe Quesne and Grand Magasin. The examination of the theatre — its nature, its function, its necessity and its pertinence within society — is accompanied by a particular concern for getting closer to the audience. This is observable in the form of these artists’ performances, expressed in how the performances give attention to clarity, explain the rules of the game, relate hesitations concerning theatrical savoir-faire, and mix learned and popular references. Why do these subsidised productions, largely praised and recognized within public institutions, take the theatrical apparatus itself as their subject? And what is behind their choice of approaches? The metatheatre of the beginning of the 20th century, which presented similar themes and structures, responded to the risks of the obsolescence of the stage, of its economic collapse, and of its loss of legitimacy within the industrialised world. My hypothesis is that the contemporary metatheatre of the 21st century is based on an ambivalent relation to theatrical performance: between fascination for its functioning as a structure and scepticism with regard to its referential power. This results in a play made for its own sake which refuses to allow itself to be taken seriously. Other ambiguities concern the relation to Western cultural heritage, the relation to otherness (social, aesthetic) and the forms of integration within institutional systems -- traits found just as easily outside the artistic world. Because it reveals how artists occupying an important role in the theatrical landscape view theatre itself, this study considers metatheatre a privileged form of observation.

"It was clearly the Government (by a great section of the electorate) that brought politics into the theatre, and we, the producers, the actors, the theatre-goers must pay the price for it." Alan Paton. This thesis attempts to analyse the way South African Theatre is developing against a background of social transition within a political framework which has enforced a policy of separate development based on racial distinction and ethnicity. Signs of political reform are beginning to show - not only as a result of pressure from within and without - but also because economic interdependency between the groups is breaking down barriers as the third world sector of the population aspires to the attractions of the first world urban sector. Polemical issues in the performing arts, which have risen out of the prevailing socio-economic climate, range from global attempts at cultural isolation of South Africa to such pragmatic matters as absorbing into actor-training programmes the various sectors of the community with their particular ethnic and linguistic identities preserved in an apartheid system. The research takes into account the history of the South African people and the various modes of theatre which have evolved as a result of natural and, later, imposed segregation of the various cultural groups. It examines, too, the dominant cuItural trends imported from Europe which have formed an infra-structure for South African theatre from training programmes to theatre managements, as well as criteria for critical assessment of theatre as a codified form of dramatic performance. It analyses the politically sensitive but vital issue of arts funding where most sponsorship emanates from public sources. It looks at actor-training programmes in terms of cultural service to the community and the diverse needs of the performance industry and takes into account the changing focus in some tertiary drama departments in an effort to adapt to transitional social conditions. It also takes cognisance of the prevailing mood of social consciousness amongst those artists who sense the need to move towards a theatre which expresses the collective experience of the South African situation. Whether this is possible in a country as culturally diverse as South Africa and whether the socio-political climate and reform measures which the government has adopted are conducive to the growth of a genre of theatre uniquely South African in its synthesis of endogenous and exogenous traditions - a theatre that will have cross-cultural appeal - is one of the major thrusts of this research. / Thesis (Ph.D.)-University of Natal, Durban, 1988.

his study discusses the benefits of Popular Participatory Theatre (PPT) as a research method with which to investigate the culture of silence around HIV/AIDS issues in Malealea Valley, Lesotho. Popular Participatory Theatre provided the means by which the community named, reflected on and initiated action with regard to their problems. This research will contribute to the growing body of research which aims to uncover effective modes of communication which could lead to behaviour change. This study employed the qualitative research methodology. This was in recognition that qualitative research involves in-depth understanding of human behaviours and the reasons that govern that behaviour, and looks at the reasons behind various aspects of behaviour, perceptions, beliefs and attitudes. Qualitative research seeks meaning rather than generality and contributes to theory development (Miller et al, 2003:192-3). In-depth interviews and focus groups were also used as instruments for data collection. The findings of the study indicate that socio-economic issues such as language, cultural practices, the way that Basotho are brought up and power dynamics around patriarchy contribute to the culture of silence. The Malealea Theatre Project helped the Malealea community to re-examine some of their beliefs and cultural practices. The findings also indicate that popular participatory theatre is an effective research method that can be used to collect data while also leading to community action. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2008.

Made available in DSpace on 2016-12-08T16:52:06Z (GMT). No. of bitstreams: 1 SamanthaCohen.pdf: 696775 bytes, checksum: 7818d5189440890278e0407d6a595a15 (MD5) Previous issue date: 2010-02-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research paper aims to investigate the structure and relationships within existing and stable theatre groups. This paper analyses 5 groups established in the early 1990's, having a body of work of considerable importance both at the local and national level. The groups under consideration are based in the south and south-east regions of Brazil: Cia Carona (Blumenau/SC); Vigor Mortis Curitiba/PR); Falos & Stercus (Porto Alegre/RS), Teatro da Vertigem (São Paulo/SP) and Os dezequilibrados (Rio de Janeiro/RJ). The current work combines bibliographic and field research. Emphasis is laid on factors that influence the establishment of the collective identity, such as, analysis and mapping of the group organization, delegation of artistic and administrative tasks, the level and types of relationship established between the group members and their environment. A second objective of this work is to highlight the differences and the survival strategies of theatre groups based at distinct locations. At the end of this paper the profiles of the five theatrical groups are presented with the intent of providing the reader an opportunity to ponder on the artistic reality of contemporaneous theatre groups. This may serve as research material to directors, actors and researchers concerned with the recent history and experience of Brazilian theatre / A presente pesquisa tem como foco principal investigar estruturas e relações de grupos teatrais estáveis, criados no início dos anos 1990 e com uma produção teatral de relativa importância dentro do atual contexto teatral regional e nacional. Os cinco grupos estudados estão sediados nas regiões sul e sudeste do Brasil, são eles: Cia. Carona (Blumenau/SC); Vigor Mortis (Curitiba/PR); Falos & Stercus (Porto Alegre/RS), Teatro da Vertigem (São Paulo/SP) e Os dezequilibrados (Rio de Janeiro/RJ). A pesquisa alia estudo bibliográfico a estudo de campo. No decorrer do trabalho são mapeados e analisados a organização dos grupos, a divisão de funções artísticas e administrativas, e os níveis e tipos de relações estabelecidas entre os integrantes e o seu entorno; a fim de perceber como estas questões influenciam na formação das identidades artísticas dos coletivos. Outro objetivo importante da pesquisa é tentar perceber as diferenças e aproximações dos modos de sobrevivência de grupos teatrais localizados em distintos lugares. Ao final são apresentados os perfis de cinco coletivos com o intuito de possibilitar o leitor refletir a respeito da realidade artística de grupos teatrais contemporâneos e oferecer material de estudo e reflexão a diretores, atores e pesquisadores acadêmicos que se interessam pela recente história e prática teatral brasileira

Augusto Boal developed Theatre of the Oppressed as a way of using the symbolic language of the dramatic arts in the examination of power relations in both the personal and social contexts. Boal understood that symbolic realities directly influence empirical reality and that drama, as an art form that employs the narrative and the event, serves as a powerful interface between symbols and actuality. In the dramatic process, the creation and the environment from which it emerges are inevitably transformed in the process of enactment. These transformations manifest in the context of power relations - in the context of the receptors ability to make decisions and to engage in actions, and the communicators ability to influence the receptors opinions and behaviour. This thesis will examine two different practices in which symbolic realities have been utilised in the context of human relations of power. Primarily, this thesis examines the theory and practice of Theatre of the Oppressed as it has developed.