Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

This thesis describes a study that examined the creation of a theatrical commons that aimed to broaden and deepen democratic engagement among diverse citizens in one public school community. The researcher considered how Forum and Image Theatre (Boal,1979, 1995, 1998, 2002; Diamond,2007) help people to name and invent different possibilities to address complex school community challenges at an individual and community level. It involved former refugee youth, guardians, parents and the general public as they critiqued the potential of a theatrical commons to represent their voices which are at times, marginalized from decisions made in the community and at a policy level. This participatory action research project drew heavily on the theatrical imaginations of Augusto Boal and David Diamond. The aims of this work were grounded in critical theory (Apple, 2008 & 2009; Chomsky, 2000; Freire, 2008; Furman & Gruenwald, 2004; Giroux, 2008; Kincheloe & McLaren, 2005). The study itself was divided into three phases: the participants’ identification of a community problem that was of great importance to them (phase 1), a workshop series that sought to explore the tensions and complexities embedded in the community dilemma, (phase 2), and a performance by the participants in a Forum Theatre event (phase 3) that invited members of a school community to imagine new possibilities for addressing a community problem. Participants were invited to reflect critically on the ability of Image and Forum Theatre to ignite critical dialogue in a diverse school community. The study’s findings indicate that space was created for participants to raise their voices in the following ways: (1) The participants defined the social justice issue that informed the workshops and the play; (2) Image theatre troubled the hegemony of the English language; (3) The participants defined, scripted and shared their struggles in the wider community; (4) Numerous opportunities occurred in the study that provoked multiple interpretations of complex community issues, and; (5) The audience members moved from the role of observer to spect-actor on the night of the performance.

This thesis describes a study that examined the creation of a theatrical commons that aimed to broaden and deepen democratic engagement among diverse citizens in one public school community. The researcher considered how Forum and Image Theatre (Boal,1979, 1995, 1998, 2002; Diamond,2007) help people to name and invent different possibilities to address complex school community challenges at an individual and community level. It involved former refugee youth, guardians, parents and the general public as they critiqued the potential of a theatrical commons to represent their voices which are at times, marginalized from decisions made in the community and at a policy level. This participatory action research project drew heavily on the theatrical imaginations of Augusto Boal and David Diamond. The aims of this work were grounded in critical theory (Apple, 2008 & 2009; Chomsky, 2000; Freire, 2008; Furman & Gruenwald, 2004; Giroux, 2008; Kincheloe & McLaren, 2005). The study itself was divided into three phases: the participants’ identification of a community problem that was of great importance to them (phase 1), a workshop series that sought to explore the tensions and complexities embedded in the community dilemma, (phase 2), and a performance by the participants in a Forum Theatre event (phase 3) that invited members of a school community to imagine new possibilities for addressing a community problem. Participants were invited to reflect critically on the ability of Image and Forum Theatre to ignite critical dialogue in a diverse school community. The study’s findings indicate that space was created for participants to raise their voices in the following ways: (1) The participants defined the social justice issue that informed the workshops and the play; (2) Image theatre troubled the hegemony of the English language; (3) The participants defined, scripted and shared their struggles in the wider community; (4) Numerous opportunities occurred in the study that provoked multiple interpretations of complex community issues, and; (5) The audience members moved from the role of observer to spect-actor on the night of the performance.

Thesis (Ph.D.)--Tufts University, 2001. / Adviser: Barbara Freedman. Submitted to the Dept. of Theatre Studies. Includes bibliographical references (leaves 345-385). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (Ph. D.)--University of Sydney, 2001. / Title from title screen (viewed Apr. 21, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 2001; thesis submitted 2000. Includes bibliography. Also available in print form.

Thesis--Berlin. Freie Universität. / In Periodical Room.

Thesis (Ph. D.)--State University of Iowa, 1964. / Typescript. Includes bibliographical references (leaves 433-455).

Thesis (M.A.)--Brigham Young University. Dept. of Theatre and Media Arts, 2002. / Includes CD-ROM: "The Whittlin' Whistling Brigade, The Young Company. Electronic and multi-media thesis by Ruthanne Lay Crow, July 2002." Includes bibliographical references (p. 228-229).

Este trabalho é um estudo sobre o poeta Luís de Camões como personagem teatral em três obras: Frei Luís de Sousa, de Almeida Garrett; Que farei com este livro, de José Saramago e Tu, só tu, puro amor..., de Machado de Assis. Em Frei Luís de Sousa será abordado o Camões mítico, pois quando se passa a história, durante o período filipino, este já está morto, só é lembrado através de Telmo. É o símbolo da pátria. No capítulo Camões: uma personagem do imaginário popular, será apresentado o Camões como personagem de Literatura de Cordel, sendo feita uma breve comparação com outras personagens como João Grilo.Em Que farei com este livro? será estudado um Camões totalmente desiludido com a pátria na tentativa de publicar Os Lusíadas. Em Tu só, tu, puro amor..., será visto um Camões romântico sofrendo de amores por uma dama da corte.Em cada uma das obras, estudaremos os aspectos da abordagem do poeta português de acordo com o contexto de época de seus respectivos autores / This is a short research about the poet Luís de Camões as a theatrical character in three plays: Frei Luís de Sousa, by Almeida Garrett; Que farei com este livro, by José Saramago and Tu só, tu, puro amor..., by Machado de Assis.In Frei Luís de Sousa it will be broached the mythical Camões, because when the story goes by, during the Filipe Age in Portugal, the poet is already dead, he is only remembered by Telmo. He is a symbol of the fatherland.In the chapter Camões: a character of the popular imaginary, Camões will be introduced as a character of the Literature of Cordel, making a short comparison with other characters like João Grilo.In Que farei com este livro? it will be studied a Camões totally disappointed with his fatherland when he tries to publish his work Os Lusíadas.In Tu só, tu, puro amor, it will be seen a romantic Camões that is suffering for a lady of the Court.In each one of those works, we are going to study the approach aspects of the portuguese poet, in accordance with the age context of their respective authors

O presente trabalho pretende compreender os modos de subjetivação pelos quais atores tornam-se sujeitos de sua prática musical. O material empírico desta pesquisa são as narrativas dos profissionais das artes cênicas que executam vocal e instrumentalmente as trilhas sonoras de seus espetáculos ao vivo. Foram obtidas, por meio de entrevistas, narrativas individuais com dois participantes e uma entrevista coletiva de seu grupo de trabalho. A abordagem teórica apoia-se nos fundamentos da pesquisa narrativa, principalmente no aporte de Jerome Bruner (2002; 2000) e nos estudos sobre discurso, saber e sujeito de Michel Foucault. A análise dos dados foi realizada com uma inspiração na perspectiva arqueológica foucaultiana, que entende o discurso como prática radicalmente histórica, inseparável das relações de poder, da produção de saber e da produção de sujeitos e subjetividades. As reflexões deste estudo permitiram compreender que a constituição musical do ator é condição inevitável para sua prática profissional; igualmente, que a subjetividade inscrita na apropriação da experiência musical, ao longo da vida, ocorre como cuidado de si e prática de si, e se torna fundamental para o aperfeiçoamento do ofício do ator e para a constituição de si mesmo. / This work intends to understand the modes of subjectivation through actors become subjects of their musical practice. The research’s empirical material is the narratives of the drama professionals who perform their plays’ soundtracks in live by using voice and instruments. Narratives were collected through individual narrative interviews with two participants and a collective interview with their work group. The theoretical approach is narrative inquiry fundamentals, particularly Jerome Bruner (2002; 2000) contribution and Michel Foucault studies of discourse, knowledge and subject. The data analysis was inspired by the foucauldian archaeological perspective, that considers discourse as a radically historic practice, inseparable of power relationship, knowledge production and production of subjects and subjectivities. Reflections from this study allowed comprehending that actor musical constitution is inescapable condition for his professional practice; that subjectivity registered in the musical experience appropriation along the life takes place like care of the self and practice of the self, and it becomes fundamental for the actor’s craft improvement and selfconstitution.