Thesis advisor: Rena A. Syska Lamparska / This dissertation presents a new analysis of theatrical improvisation, not as a theatrical practice but as a condition of the creative process; the focus is on the processes of the actor as signifier and site (producer) of a complex system of exchange. It explores the actor as creator of a macro-text that consists of the fixed element of the script and its variable interactions with the other actors and the audience. I demonstrate that improvisation is the condition that allows the actor to establish non-linear relationships between the text and the spectators through parallel subtexts that he creates ex novo. Such relationships happen in virtue of a ‘complexisation’ of the text that enriches its literal meaning. I observed the Spanish director José S. Sinisterra’s work in which he trained his actors to develop parallel subtexts in order to improve their ability to make a text complex. He argued that the actor’s expression of the text needed to provoke the spectator, through chaos and order. I then, studied the creativity process from a scientific point of view in order to understand in which way chaos and order work inside the mechanisms of performance. Thanks to the application of the chaos and complexity theory to the theatrical processes, attempted here for the first time, I consider the actor and the performance as ‘complex dynamic systems’ like a cell, a human being or life itself, in which, paradoxically, order and chaos coexist and maintain the system in balance; the continuous passages from chaos to order and vice versa, create the necessary tension and energy that put the spectator in the condition of building his own meanings. This study intends to define the fields of action of order and chaos, in both actuation and reception of text, as well as to identify fixed and variable determinant factors which could alter the components of the actor and the whole play’s system, to the and of increasing the necessary tension for complexity. Important theories on semiotic aspects of theatre and reception processes are taken in consideration like those by Iser, Eco, Ubersfeld and De Marinis as well as those by the mayor theatre directors of the Twentieth century, from Stanislavski to Mejerch’old, Kantor, Grotowski. / Thesis (PhD) — Boston College, 2008. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.

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

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

Historicamente, professores de Língua Portuguesa têm utilizado práticas teatrais em suas aulas. Há, no entanto, um grupo de professores, em especial, que vem articulando práticas de leitura e práticas teatrais. São aqueles que atuam na Hora da Leitura, um projeto implantado em 2005 pela Secretaria de Estado da Educação de São Paulo, que introduz uma aula semanal dedicada à leitura de textos literários na matriz curricular das escolas estaduais de Ciclo II do Ensino Fundamental. Este trabalho investigou as motivações e o desenvolvimento destas práticas. Além disso, desenvolveu um experimento que reuniu leitura de textos e jogos de improvisação teatral com um grupo de professores da Hora da Leitura. Este experimento resultou em experiência relevante para o grupo no que se refere ao processo de apreensão do fenômeno teatral e à postura do espectador em face da cena. Para a elaboração, o desenvolvimento e a análise do experimento, recorremos aos pressupostos teóricos que sustentam os jogos improvisacionais, bem como às teorias lingüísticas que estão na base do ensino de Língua Portuguesa, em especial, no que se refere à formação do leitor. / Historically, Portuguese teachers have made use of theatrical practices in their classes. There is a group of teachers, in particular, who is gathering reading practices and theatrical classes. These teachers carry out the Reading Time, a project introduced in 2005, by Secretariat of Education of São Paulo State, who established a weekly class seeking on the reading of literary texts. This class was included on the basic curriculum of the second stage of primary state schools. This work examined the purposes and the development of these practices. Furthermore, it also brought about an experiment which encompassed the reading of texts and theatrical improvisation games led by a group of teachers from the Reading Time project. This experiment resulted in a relevant experience to the group regarding the understanding process of the theatrical phenomenon and the audiences attitude concerning the scene. Throughout the elaboration, development and analysis of the experiment, the theoretical bases which support the theatrical improvisation games were resorted, as well as the linguistic theories which support the Portuguese Language, especially regarding the readers training.

Historicamente, professores de Língua Portuguesa têm utilizado práticas teatrais em suas aulas. Há, no entanto, um grupo de professores, em especial, que vem articulando práticas de leitura e práticas teatrais. São aqueles que atuam na Hora da Leitura, um projeto implantado em 2005 pela Secretaria de Estado da Educação de São Paulo, que introduz uma aula semanal dedicada à leitura de textos literários na matriz curricular das escolas estaduais de Ciclo II do Ensino Fundamental. Este trabalho investigou as motivações e o desenvolvimento destas práticas. Além disso, desenvolveu um experimento que reuniu leitura de textos e jogos de improvisação teatral com um grupo de professores da Hora da Leitura. Este experimento resultou em experiência relevante para o grupo no que se refere ao processo de apreensão do fenômeno teatral e à postura do espectador em face da cena. Para a elaboração, o desenvolvimento e a análise do experimento, recorremos aos pressupostos teóricos que sustentam os jogos improvisacionais, bem como às teorias lingüísticas que estão na base do ensino de Língua Portuguesa, em especial, no que se refere à formação do leitor. / Historically, Portuguese teachers have made use of theatrical practices in their classes. There is a group of teachers, in particular, who is gathering reading practices and theatrical classes. These teachers carry out the Reading Time, a project introduced in 2005, by Secretariat of Education of São Paulo State, who established a weekly class seeking on the reading of literary texts. This class was included on the basic curriculum of the second stage of primary state schools. This work examined the purposes and the development of these practices. Furthermore, it also brought about an experiment which encompassed the reading of texts and theatrical improvisation games led by a group of teachers from the Reading Time project. This experiment resulted in a relevant experience to the group regarding the understanding process of the theatrical phenomenon and the audiences attitude concerning the scene. Throughout the elaboration, development and analysis of the experiment, the theoretical bases which support the theatrical improvisation games were resorted, as well as the linguistic theories which support the Portuguese Language, especially regarding the readers training.

No description available.

En los últimos años, a través de diversos autores se ha identificado que la improvisación teatral aplicada en las organizaciones viene logrando un resultado positivo. De tal manera, el presente estudio tiene como finalidad determinar el impacto de la improvisación teatral en la cultura organizacional específicamente en trabajadores del sector bancario de Lima metropolitana en el año 2021. Esta investigación es a nivel cuantitativo, de alcance correlacional causal y con un diseño no experimental transversal. Se hizo uso de una encuesta como instrumento, la cual fue aplicada en las empresas bancarias del Perú con más trabajadores: Banco de Crédito del Perú - BCP, BBVA Continental, Interbank y Scotiabank (SBS, 2021). Se tomaron 04 dimensiones para cada una de las variables distribuidas en las 36 preguntas del cuestionario y se utilizó la escala Likert. La base de datos recolectada fue procesada con la herramienta estadística informática SPSS versión 25 y los resultados obtenidos muestran un nivel de significancia para el estadístico Chi-Cuadrado de Pearson menor a 0,05, por lo que se aceptan las hipótesis alternativas planteadas. Es así que, se puede concluir que existe un impacto significativo de la improvisación teatral sobre la cultura organizacional de trabajadores del sector bancario en el año 2021. / In recent years, various authors have identified that the theatrical improvisation applied in organizations has achieved a positive result. In this way, the present study aims to identify the impact of theatrical improvisation on organizational culture specifically in workers in the banking sector of metropolitan Lima in the year 2021. This research is at a quantitative level, of causal correlational scope and with a cross-sectional nonexperimental design. A survey was used as an instrument, which was applied in the banking companies of Peru with more workers: Banco de Crédito del Perú - BCP, BBVA Continental, Interbank and Scotiabank (SBS, 2021). 04 dimensions were taken for each of the variables distributed in the 36 questions of the questionnaire and the Likert scale was used. The collected database was processed with the computer statistical tool SPSS version 25 and the results obtained show a level of significance for the Pearson Chi-square statistic less than 0.05, so the proposed alternative hypotheses are accepted. Thus, it can be concluded that there is a significant impact of theatrical improvisation on the organizational culture of workers in the banking sector in 2021. / Tesis

There is very little theoretical literature about theatrical improvisation as it connects to ideas and practices of relating and specifically to ideas and practices of social work relating. This thesis involves efforts to theorize moments of relating – of being with others – in improvisation. A group of hospital social workers and a group of PhD social work research students participated in the study. The participants took part in improvisational workshops designed specifically for the study, as well as one-on-one and group interviews. This thesis explores what was created between research participants in improvisational workshops: the response-ability to and for others; an experience of grappling with the desire for control; and an embodied apprehension of interdependence. The study demonstrates an embodied and uncomfortable experience of the dominance of individualism in our relating. The study also demonstrates ways in which the art of theatrical improvisation can allow us to take up the transformative promises of social constructionism in social work relating. The thesis aims to make living space for central social constructionist concepts such as mutual constitution and interdependence – to explore and consider what happens when we fully recognize and carry these out in our practices of relating. Providing a different way into these central social constructionist concepts, this study contributes to arts-informed research, teaching and practice. More specifically, the research shows how the art of improvisation can provide transformative possibilities for social work pedagogy and the social work classroom. / Thesis / Doctor of Philosophy (PhD) / This thesis involves efforts to theorize moments of relating – of being with others – in improvisation. A group of hospital social workers and a group of PhD social work research students participated in the study. The participants took part in improvisational workshops designed specifically for the study, as well as one-on-one and group interviews. This thesis explores what was created between research participants in improvisational workshops: the response-ability to and for others; an experience of grappling with the desire for control; and an embodied apprehension of interdependence. The study demonstrates an embodied and uncomfortable experience of the dominance of individualism in our relating and provides an analysis of engagement in improvisation as an alternative to a framework of independence in social work. The study contributes potential for arts-informed research, teaching, and practice, as well as social work pedagogy as it demonstrates ways in which the art of improvisation can allow us to take up the transformative promises of social constructionism in social work relating.