Marriage has come to be center-stage in a semiotic and ideological “culture war.” The issue of same-sex marriage has emerged as a defining political argument shaping the manner by which the contemporary gay rights movement positions itself. In Georgia’s 2004 election, a constitutional amendment was proposed defining marriage as legal unions between only biological men and women. In response, campaigns were organized by both supporters and opponents to same-sex marriage. This thesis examines the politics of spectacle at play through which both sides of this argument positioned themselves. This thesis employs anthropological theory, queer theory and public sphere literature to illuminate the campaign against same-sex marriage as one of not only the denial of citizenship rights, but of identity recognition. The methods of theatricality employed by both sides of this debate are examined alongside the manners by which they represented themselves as legitimate voices in the fight over “marriage.”

The thesis reveals the main principles of the theatrical chronotope and examines the ways in which it is embodied in the novels of two postmodern authors &ndash / The Magus by John Fowles and England, England by Julian Barnes. These are analyzed as presenting two different variants of texts that employ the theatrical chronotope to exploit its different possible semantic implications. The thesis argues that in The Magus theatricality is employed to convey the author&rsquo / s philosophical and aesthetical thoughts. The main qualities of the theatrical universe, actualized in the novel, are its epistemological potential determining the protagonist&rsquo / s quest in the &ldquo / heuristic mill&rdquo / of the metatheatre, and the multileveled structure of theatrical reality, combining different degrees of conventionality, which serves to posit the question of the relationships of aesthetical and actual reality. In England, England, theatricality is used to investigate the nature of modern society presented as a kind of totalitazing spectacle. Accordingly, the theatrical chronotope is used to construct a simulative reality, manifesting that of the modern society in replacing the actual reality and experience of living with the illusory pseudo-experience of consuming the images of reality and living, in its role-imposing and transforming abilities manipulating both personal and national identity.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-04-20T14:16:03Z No. of bitstreams: 2 Dissertação - Karla Araújo - 2015.pdf: 5815602 bytes, checksum: 45fb3f3f4c1d2b5861b9630ad08b91e6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-04-20T14:17:32Z (GMT) No. of bitstreams: 2 Dissertação - Karla Araújo - 2015.pdf: 5815602 bytes, checksum: 45fb3f3f4c1d2b5861b9630ad08b91e6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-04-20T14:17:32Z (GMT). No. of bitstreams: 2 Dissertação - Karla Araújo - 2015.pdf: 5815602 bytes, checksum: 45fb3f3f4c1d2b5861b9630ad08b91e6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-12-04 / The dissertation entitled The deaf theatricality on performance is a research focusing on the performance and deaf identity, based on the concepts and definitions of performance, on performativity of the teacher and actor Sergio Mendes Vaz. The issue is important because it contributes to the studies of performance, with the key theatricality of the deaf in performance. The goal is to analyze elements, such as facial and body language, expression, signaling, characterization (costumes), actor relationship and public professor and actor Sergio, in order to expand the debate and discussions about the importance of performance within the culture deaf. The investigation seeks justification in authors like Felipe (2007), Quadros et al. (2009), Ferreira-Brito (1989), Skilar (1999), Perlin (1998), Sá (2002), Souza, Silvestre e Arantes (2007), Sacks (2010), Féral (2008), Schechner (2011), Pavis (1999), Gennep (2011), Cornago (2009); Goffman (1985) e Zumthor (2000). This research is a case study with the teacher and the deaf actor, Sérgio Vaz Mendes, who teaches and communicates in Brazilian Sign Language (Libras), a language of visual-spatial-gestural mode, whereby the deaf express themselves . As a result of nature of the object, the methodological approach is a qualitative research, with the fichamentos data collection instruments, films and photographs, as well as field research, carried out through observations, interviews, diary records field and coexistence with Sérgio Vaz. The field research occurred in three different environments, but complementary: (a) Course Pounds, offered by Colleges Alves Faria (ALFA), which offers the course free for deaf and hearing, and Professor Sérgio Vaz as a teacher of the classes; (B) Coral Deaf, which is a social project, developed by Professor Sérgio Vaz and his wife Waléria Batista, supported by SEARA Association, a charity, educational, cultural, welfare and health, non-profit; (C) the stage show The Art In Silence, staged at Chaplin Educational System in 2005, on graduation of Libras classes. The contribution of this research is given to broaden the search field performance and theatricality with deaf. The research finds theatricality on performance the deaf actor Sérgio Vaz. And the importance of the performances presented in their deaf identity. / A dissertação intitulada A teatralidade do surdo na performance é uma pesquisa que aborda a performance e a identidade surda, a partir dos conceitos e definições da performance, na performatividade do professor e ator Sérgio Vaz Mendes. O tema é relevante, pois contribui com os estudos da performance, tendo como chave a teatralidade do surdo na performance. O objetivo é analisar elementos, como: expressão facial e corporal, expressividade, sinalização, caracterização (figurino), relação ator e público do professor e ator Sérgio, com o propósito de ampliar o debate e as discussões acerca da importância da performance dentro da cultura surda. A investigação busca fundamentação em autores, como Felipe (2007), Quadros et al. (2009), Ferreira-Brito (1989), Skilar (1999), Perlin (1998), Sá (2002), Souza, Silvestre e Arantes (2007), Sacks (2010), Féral (2008), Schechner (2011), Pavis (1999), Gennep (2011), Cornago (2009); Goffman (1985) e Zumthor (2000). Essa pesquisa é um estudo de caso com o professor e ator surdo, Sérgio Vaz Mendes, que ensina e se comunica em Língua Brasileira de Sinais (Libras), uma língua de modalidade visual-espacial-gestual, por meio da qual os surdos se expressam. Em decorrência da natureza do objeto, a abordagem metodológica utilizada é a da pesquisa qualitativa, tendo como instrumentos de coleta de dados fichamentos, filmagens e fotografias, além da pesquisa de campo, realizada por meio de observações, de entrevistas, de registros em diário de campo e da convivência com Sérgio Vaz. A pesquisa de campo ocorreu em três ambientes distintos, porém, complementares: (a) Curso de Libras, oferecido pelas Faculdades Alves Faria (ALFA), que disponibiliza o curso gratuitamente para surdos e ouvintes, tendo o professor Sérgio Vaz como docente das turmas; (b) Coral de Surdos, que é um projeto social, desenvolvido pelo professor Sérgio Vaz e sua esposa Waléria Batista, apoiados pela Associação SEARA, uma entidade filantrópica, de caráter educacional, cultural, assistencial e de saúde, sem fins lucrativos; (c) o espetáculo teatral A Arte No Silêncio, encenado no Sistema Educacional Chaplin, em 2005, na formatura das turmas de Libras. A contribuição dessa pesquisa se dá no sentido de ampliar o campo de pesquisa sobre a performance e a teatralidade do surdo. Os estudos teóricos a respeito da performance cotidiana, a análise e reflexão sobre as vivências do professor e ator surdo Sérgio Vaz possibilitam um olhar diferenciado da teatralidade do surdo nas performances apresentadas.

Este estudo realiza uma reflexão sobre a teatralidade existente na dança do Grupo Primeiro Ato. Tem início em uma breve retrospectiva histórica da dança moderna brasileira, atravessando o período que vai dos anos vinte aos anos setenta do século passado, quando experiências de dança contemporânea começaram a surgir no cenário artístico nacional, traçando assim, um percurso do macro para o micro, do Brasil para a cena mineira e depois para o Primeiro Ato. Um duplo olhar, então, é construído. Primeiramente aquele que parte da dança em direção ao teatro, analisando alguns de seus criadores mais significativos, e em seguida do teatro para a dança, para chegar assim ao amálgama entre essas formas artísticas. Na parte final deste estudo, o espetáculo Sem Lugar foi escolhido como referência através da qual a teatralidade pode ser reconhecida como produto de um diálogo profundo com a dança, processo esse que é gerador, por sua vez, de diferentes dramaturgias que se interrelacionam, caracterizando um tecido poético que torna específico o trabalho do Primeiro Ato. / This study represents a reflection on the theatricality developed by the Primeiro Ato Dance Group. It begins with a short historical retrospective of Brazilian Modern Dance, going through a period from the twenties to the seventies of the past century, a moment when aspects related to contemporary dance emerged in the Brazilian dance scene. In this way, a path was designed, from a macro to a micro point of view, from events occurred throughout Brazil to the State of Minas Gerais, and then to the work created by Primeiro Ato specifically. Then, a kind of Double approach was explored. Firstly from dance to theatre, analyzing some of its most important creators, and secondly from theatre to dance, in order to achieve what was called here the amalgam between these art forms. In the final part of this study, a production named Sem Lugar was chosen as a reference through which theatricality can be recognized as a result of a deep dialogue with dance, a process which generates, in turn, different dramaturgies that intertwine, characterizing a poetic layer which makes the work created by Primeiro Ato truly unique.

Notre recherche se situe sur la base d’une approche interdisciplinaire venant à la fois de l’art vivant du théâtre – avec la notion de théâtralité – et de la phénoménologie du corps selon Maurice Merleau-Ponty, laquelle nous permet d’accomplir une lecture phénoménologique de la théâtralité du geste présente dans le récit johannique pour penser une théologie poétique du geste. Nous reconnaissons une autorité première au récit johannique pour y discerner l’apparition d’un logos de la relation entre le Père, le Fils et l’Esprit Saint en lien avec les disciples. L’horizon de notre recherche relève d’une poétique du geste. Nous cherchons à resituer la poétique dans son sens premier de l’acte de faire (poiein) qui désigne une opération expressive du corps en train de s’accomplir. Cette lecture de la poétique en tant qu’acte en train de se faire, nous permet de reconnaître un logos sous-jacent au geste qui se montre et se fait connaître en son état naissant. Une telle poétique concerne la théâtralité du corps. En effet, nous ne nous limitons pas à explorer le phénomène de la théâtralité corporelle sous-jacent au récit johannique (l’analyse de la théâtralité), mais nous cherchons à reconnaître une pensée poétique du corps qui se montre in statu nascendi à travers la théâtralité johannique. / Our study utilizes an interdisciplinary approach emerging from both the living art of theater - with its implicit notion of theatricality - and Maurice Merleau-Ponty’s phenomenology of the body. This double approach allows for a phenomenological reading of the theatrical gesture found throughout the Johannine narrative. We can then proceed from there in our foundation of a poetical theology of the gesture. We begin by recognizing the Johannine narrative’s primary authority: there we discern the emergence of the logos of the relationship between the Father, the Son and the Holy Spirit in connection with the disciples. This particular discernment takes place against the broader horizon of a poetics of the gesture. We then resituate the ‘poetic’ in its etymological sense as ‘the act of doing or making (poiein)’. This originating context highlights the ‘poetical’ as an expressive action of the body that is in process toward completion. This reading of the poetic as an action in the process of making [or doing] then allows us to recognize a logos underlying the bodily gesture that reveals itself and makes itself known in its nascent state. Such a poetics concerns the very theatricality of the body itself. Indeed, we do not limit ourselves to exploring the phenomenon of bodily theatricality underlying the Johannine narrative (i.e., an analysis of theatricality). Rather, we seek to uncover a poetical thought of the body manifesting itself in its nascent state – in statu nascendi – by means of Johannine theatricality.

京都大学 / 0048 / 新制・課程博士 / 博士(人間・環境学) / 甲第22515号 / 人博第918号 / 新制||人||220(附属図書館) / 2019||人博||918(吉田南総合図書館) / 京都大学大学院人間・環境学研究科共生人間学専攻 / (主査)准教授 桒山 智成, 教授 廣野 由美子, 准教授 池田 寛子 / 学位規則第4条第1項該当 / Doctor of Human and Environmental Studies / Kyoto University / DGAM

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Scholarly analysis of rhetorical speeches over the last century has been concentrated on the “traditional” ways of approaching this kind of texts, without paying much attention to their theatrical nature. The old critical analysis paid attention primarily (if not exclusively) to textual issues such as the recognition of grammatical points and the use of such texts as sources of information about historical and legal issues. The interest of scholars focuses, recently, on the study of rhetorical speeches as performances. Although some critical approaches of Demosthenes’ On the Crown appeared over the last few years, there is no systematic argument about the theatrical features of this masterpiece. By reading On the Crown, I emphasize the connection between law and theater and I suggest that rhetoric has its own “performativity”. The speech is a judicial performance: the speaker is like an actor, the court rostrum is like a theatrical scene and the audience that will vote for Demosthenes consists of the same people who take part in a theatrical performance, praising or booing the actors. The comic and tragic language and imagery, the use of emotional appeals (pathos) that is associated with the construction of characters (ēthopoiia), and finally, delivery (hypocrisis) are important theatrical devices, which Demosthenes uses in the speech. This report has a twofold structure: first, it offers a brief theoretical survey of the above-mentioned theatrical devices. Second, it provides a text-based analysis of the theatrical features of On the Crown, discussing how Demosthenes by using theatrical techniques in his speech succeeds in persuading the audience of the Crown trial and gaining an overwhelming victory over Aeschines. / text

In this dissertation I investigate the stylistic shift in the cinema of selected filmmakers whose work is rooted in Bertolt Brecht’s dramatic theory: Jean-Marie Straub and Danièle Huillet, Peter Watkins, and Lars von Trier. Through the work of these filmmakers, I trace the ongoing change in the cinematic applications of the theory. By and large, the change consists of a lessening of the role of montage – a technique that occupies a paramount place in Brecht’s theatrical and filmic practice – in favour of the objects within the camera’s field of view and the sounds within the microphone’s range. Since the ultimate effect for which the Brechtian filmmaker aims is that of Verfremdung, theatrical stylisation – itself estranging within the context of cinema – appears as a natural corollary of the described shift in emphasis. I also suggest a causal connection between the aforementioned shift and the growing self-consciousness of the style employed by meainstream cinemas (of which Hollywood is the foremost representative), which often manifests itself in the use of unorthodox editing patterns. Accordingly, I propose that we can attribute the contemporary Brechtian filmmaker’s growing reliance on mise-en-scène elements as a source of Verfremdung largely to the major film industries’ adoption of montage and other specifically cinematic codes that make a film’s style overt. Not surprisingly, perhaps, the Brechtian filmmaker – whose political stance is inherently antagonistic to that exemplified by most mainstream cinema, reacts to the normalisation of foregrounded film style by employing the opposite strategy.

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