Made available in DSpace on 2014-08-20T13:49:13Z (GMT). No. of bitstreams: 1 augustoamaral.pdf: 11468891 bytes, checksum: 657fbf7fccf79b4331f6abef65a9b8e1 (MD5) Previous issue date: 2009-03-30 / This piece of writing intends to contribute to the concept of human theatricality, corporifying itself while memories and experimentations are stated. It is a process of development inspired on the philosophy of difference, the device of which is the theater. It tries to make bodies that Interact, transformations, markings, dispersions evident, providing elements that compose a group of practice-theory.Actions and ideas generated during incursions in alien territory, at the frontier among art, philosophy, and education in a changing zone. The empirical field of research is constituted fundamentally from the experience of teaching Educational Philosophy and The Philosophy of Physical Education in the undergraduate course of Physical Education, at the Atlântico Sul College, understood here as the practice of Oneself. Work developed around the recognition of the processes of development of its agents, questioning the formal field of education, the ditional relation between the subject and the object of research, the hegemonic models, and the finished product.The field of problem making appears from the resistance to living and defines the methodological pathway of research. / Esta escrita pretende contribuir com a construção do conceito de teatralidade humana, corporificando-se enquanto são enunciadas memórias e experimentações. Trata-se de um processo de formação inspirado na filosofia da diferença, cujo dispositivo é o teatro. Procura evidenciar corpos que interagem, devires, marcas, dispersões; fornecendo elementos que compõem um conjunto prático-teórico. Ações e ideias geradas durante incursões no território alheio, na fronteira entre arte, filosofia e educação em uma zona de mutação. O campo empírico da pesquisa constitui-se fundamentalmente a partir das práticas como professor da disciplina Filosofia da Educação e Filosofia da Educação Física no curso de licenciatura em Educação Física, da Faculdade Atlântico Sul em Pelotas, aqui entendidas como práticas de Si. Um trabalho desenvolvido em torno da valorização dos processos de formação de seus agentes, colocando em questão o campo formal da educação, a relação tradicional entre sujeito e objeto de pesquisa, os modelos hegemônicos e os produtos acabados. O campo de problematização surge a partir do embate com o vivido e define os rumos metodológicos da pequisa.

Cette thèse étudie la théâtralité cinématographique. Pour cela elle analyse le film L’année dernière à Marienbad [Alain Resnais et Alain Robbe-Grillet, 1961] en espérant cerner les deux principaux niveaux de théâtralités qui déterminent la scène filmique.Tout d'abord elle aborde la théâtralité cinématographique offerte au spectateur par la transposition des artifices du théâtre à l'écran. Nous y verrons les apports techniques et esthétiques du théâtre (dramaturgie, entrées latérales, fixité du plan, etc) au cinéma, ainsi que l'aspect factice de la scène. Nous parlerons d'une Théâtralité primaire. Nous aborderons ensuite la Théâtralité secondaire, forme spécifique de théâtralité cinématographique, procédé qui évoque la fondation de l'aire de jeu du comédien au théâtre. Au cinéma, cette aire de jeu devient celle du personnage. La Théâtralité secondaire dépasse ainsi l'héritage primaire du théâtre. Il s'agit d'un niveau plus élevé de théâtralité, surgissant à des moments prégnants du film, une coupure opérée par le jeu des personnages. Inscrivant la scène dans un autre ordre topographique, cette théâtralité précipite le film dans une dimension temporelle altérée et peut ainsi être mise en place à travers différents niveaux de fabulation des personnages. / This thesis aims at studying the film theatricality. It analyzes the film Last year to Marienbad [Alain Resnais and Alain Robbe-Grillet, on 1961] by hoping to encircle both main levels of theatricalities which determine the cinematic stage. First of all, the film theatricality can be delivered to the spectator through the implementation of technical theatre artifice on the screen but also by the fake appearance of the filmic environment. First of all, the film theatricality offered to the spectator by the transposition of the technical theatre artifice on the screen but also by fake appearance of the filmic environment. We shall see at first the technical and aesthetic elementary contributions of the theater [dramaturgy, entered laterals, fixedness of the shot of other] in the cinema. We shall speak about a primary theatricality.Then, we shall approach the secondary theatricality, the specific shape of film theatricality, process which evokes the foundation of a playing area through which actors to the theater. In the cinema, this playing area becomes that of the character. The secondary theatricality so exceeds the primary inheritance of the theater in the cinema. It is about a higher level of theatricality, appearing at the moments prégnants of the film, a cut was operated by the play of the characters. Registering the stage in another topographic order, this theatricality precipitates the film into a altered temporal dimension and can be so organized through various levels of the fantasizing of the characters.

On a qualifié de « migration des images » le déplacement des images en mouvement depuis les salles de projection jusque dans les salles des musées. Cette « migration » a d’abord constitué le socle initial de ce travail, en fixant les pourtours de son contexte : les images en mouvement, le musée et ses collections, leur dialogue depuis le milieu des années 1990. Délaissant ce sens premier de l’expression, cette étude met au travail son sens figuré : l’idée de migration convie une économie, un système d’échanges, de circulation, un type d’activité propre aux images en mouvement qui élargit ce contexte de départ. La force de ces images se loge dans un geste de décentrement. Leur mobilité les empêche d’accéder à un statut ou à une position dominante. Une résistance à la saisie globale accompagne ces images qui préfèrent les interstices, l’entre-deux, les failles, voire une certaine forme de clandestinité : elles échappent aux normes. Le décentrement qualifiera ici une méthode d’analyse, le choix d’un corpus qui va des années 1970 à nos jours, et la construction générale de cette recherche. Il permet de mesurer des distances, de saisir les sinuosités, les accidents, qui ponctuent l’histoire des images en mouvement. Point de départ : ce travail s’arrime au décentrement historique constitué par la rupture d’avec le discours moderniste dans les années 1970. Les œuvres contemporaines réunies héritent de cette éviction et la discutent. Les trois chapitres, thématiques, commentent ce décentrement qui bouscule les principes muséaux incarnés par l’institution du white cube. L’archive, le document et le jeu : trois façons de contourner les réflexes de l’essentialisme. Fondé sur des études d’œuvres, qui sont autant d’études de cas, accueillant sur un plan qui se veut tabulaire les images, les textes et les films, ce travail rend compte du savoir, étoilé et ramifié, que dispensent, de façon si singulière, les images en mouvement. / The dislocation of images in motion from screening rooms to museum rooms has been addressed in terms of a « migration of images ». This « migration » was the initial foundation of the present work, determining its perimeter: images in motion, the museum and its collections, the dialogue between them from the mid-1990s onwards. Leaving behind the literal meaning of the expression, this study explores its fi gurative senses: the notion of « migration » calls for an economy, a system of exchange and circulation, an activity specific to images in motion that broadens its initial context. The power of images in motion relies upon a gesture of decentering. Th eir mobility prevents them from reaching a dominant position or attaining an important status. Th ese images resist to global analysis, preferring the interstices, the in-between, the faults, and what resembles to a form of underground activity instead. In other words, they resist the standards. Th e notion of « decentering » describes here three different dimensions: an analytical method, the constitution of a corpus ranging from the 1970s to the present-day, and the general conception of this research. Th e concept allows for the measuring of distances, the grasping of certain infl exions, or accidents, which rhythm the history of images in motion. Our starting point is the historical « decentering » illustrated by the break with modernist discourse in the 1970s. Th e contemporary works that we discuss inherit this eviction and comment on it. Our three thematic chapters comment this shift that challenges the museological principles embodied by the whitecube. Th e archive, the document and staging : three ways of circumventing the refl exes of essentialism. Based upon the close study of works, conceived as case-studies, accommodating for images, texts and films within a tabular plan, this work accounts for the singular knowledge provided by images in motion.

Dans cette étude nous nous proposons de mettre au jour ce qui assure la cohérence du texte dans quatre récits autobiographiques d’André Breton : Nadja, Les Vases communicants, L’Amour fou et Arcane 17. Nous proposons de les appeler « tétralogie » bretonienne. Après avoir montré que les approches en narratologie ne sont pas adaptées à cette fin, nous verrons que l’argumentation ayant pour but de transmettre l’idée du surréalisme donne un cadre intégrateur à ces récits pour en assurer la cohérence. Chaque texte doit selon nous être considéré comme une situation de communication entre le lecteur et l’auteur, c’est-à-dire dans sa dimension pragmatique et énonciative. L’illustration photographique, présente dans trois récits de la « tétralogie », fait partie des moyens mis en œuvre par l’acte d’argumenter. Elle contribue au mieux à cette communication-argumentation. Nous démontrons que ces récits doivent être considérés comme des « livres illustrés » modernisés par la photographie. Dans cette optique, nous examinons le rôle et l’évolution de la photographie à travers la « tétralogie ».Nous montrons que la situation de communication est figurée dans chacun des quatre récits comme un espace théâtral car chacun d’eux est construit comme un théâtre virtuel et fantasmatique. La théorie freudienne du rêve et du théâtre nous permet d’explorer la théâtralité de la « tétralogie » tout en résolvant le paradoxe du théâtre chez BRETON. / This study aims at clarifying the textual coherence in four autobiographical narratives of the Surrealist Poet André Breton: Nadja, Les Vases communicants, L’Amour fou and Arcane 17, which we propose to call “bretonian tetralogy”. Our main thesis is the central importance, in this “tetralogy”, of acts and means of convincing the reader of the genuineness of Surrealism. And the author succeeds in establishing a dynamic tête-à-tête relation with his reader, which endows each narrative with its inward coherence. Photography plays a key role in this rhetoric scheme, and we put forward the interpretation of “bretonian tetralogy” as a variation of 19th century’s illustrated book modernized by the medium and visualization device. On the basis of Freud’s theory about dream and theatricality, we demonstrate that these narratives must be considered as virtual theatres since incorporated theatricality is a way of reminding and exploiting, in the shape of a text, the discourse situation underway between communication partners; Breton and his reader.

Ce travail investit l’œuvre de Jean Cocteau et plus particulièrement son cinéma à partir d’une perspective intermédiale. Les questions de l’intermédialité sont mises en rapport avec des questions relatives à l’esthétique, confrontant l’évolution et l’invention des formes aux réflexions sur la connaissance et la perception du réel qui les ont engendrées. Etant donné que la forme concrétise ce qui se passe entre le réel et le sujet et véhicule les réflexions sur le réel et sa connaissance, les problèmes de perception et de construction de réalité, d’illusion et de représentation sont investies. Les conceptions esthétiques du poète sont confrontées aux mentalités qui les ont vues naître, aux conditions ontologiques et épistémologiques qui les ont rendues possible. Les analyses des six films que Cocteau a écrits et réalisés évaluent comment il a mis en pratique ses conceptions. Elles décrivent comment et pourquoi Cocteau intègre l’autre au cinéma et ‘impurifie’ sa matière. A la recherche d’une esthétique qui lui serait propre, le premier art auquel le cinéma se confronte est le théâtre. Il impose ses solutions lorsque le cinéma n’a pas encore développé ses propres formes de représentation. Faut-il aller avec le théâtre ? faut-il le contredire ? Dans ce travail, le théâtre est compris comme modèle artistique (théâtre) et comme élément esthétique (théâtralité). Il retrace ainsi, d’une part, les rapports cinéma-théâtre dans l’œuvre du poète et décrit, d’autre part, une théâtralité proprement cinématographique dont le modèle n’est plus immédiatement le théâtre et qui saisit des structures esthétiques du cinéma qui seraient en concordance avec celles du théâtre. / This dissertation investigates the work of Jean Cocteau and particularly his cinema from an intermedial perspective. The questions relevant to intermediality are addressed in relation to aesthetic considerations, thus confronting the configuration and invention of forms with the reflections on reality – its perception and knowledge – that generated them. As form itself marks the interface of reality and the subject and mediates between reality and the perceptive knowledge of it, this paper investigates the perception and filmic construction of reality, questions of illusion and representation that constitute the primordial preoccupations of Cocteau. His aesthetic conceptions are confronted with their ontological and epistemological conditions. The analysis of the six films that Cocteau has written and directed shows how the poet has put into practice his ideas and conceptions. They respond to the question how and why Cocteau integrates the other in the cinema and ‘impurifies’ its surface. Looking for an aesthetic of its own, the first art form cinema referred to was the theatre. It imposed its solutions where the cinema had not yet solved its own questions of representation. Should one go with the theatre? or against it? In this dissertation, theatre is understood both as artistic model (theatre) and as an aesthetic element (theatricality). Thus, on the one hand, we retrace the relations of cinema and theatre in the work of Jean Cocteau and, on the other hand, we describe a cinematographic theatricality that is no longer immediately related to theatre, but that refers to the aesthetic structures of the cinema that are in concordance with that of the theatre.

A iluminação cênica é uma das mais fecundas áreas da prática teatral contemporânea, sendo responsável por muitos aspectos da construção dos sentidos na cena, e da fruição da obra pelos espectadores. Essa pesquisa visa jogar luzes sobre as estratégias utilizadas por alguns iluminadores na articulação de seu trabalho com as necessidades da fabulação de diferentes tipos de espetáculos e seus respectivos espaços. Numa encenação a demanda de responsabilidade que recai sobre o trabalho do iluminador é imensa. No geral ele precisa, além de iluminar o ator e a cena, de alguma maneira também iluminar o texto e a obra da encenação, ressaltando suas intencionalidades expressivas e de comunicação. Muitas vezes seu trabalho é o ponto de convergência ou confrontação entre os diversos profissionais envolvidos numa montagem teatral, além de contribuir de forma absoluta na maneira como o espectador recebe e experimenta um espetáculo. Acreditamos que tais e tamanhas tarefas poderão receber algumas luzes com o estudo que esta pesquisa pretende contemplar, com objetivo de contribuir para uma elaboração didática para interessados no tema. / The stage lighting is one of the most fruitful areas of the practice of contemporary theater, being responsible for many aspects of the construction of meanings in the scene, and to the enjoyment of the play by the spectators. This research aims to light up the strategies used for some light designers in the articulation betwen its work and the necessities of the report in differents types of spectacles and its respective spaces. On stage, the responsibility demands that falls in the work of the light designer is immense. In general terms, it needs, beyond lighting the actor and the scene, in some way also to light up the text and the mise-en-scène, to show its expressives purposes and comunication intents. Many times its work is the convergence point or confrontation among the involved professionals in a stage setting, beyond contribute in all the ways that the spectator receives and tries the spectacle. We believe that such and so great tasks will be able to receive some light with the study that this research intends to contemplate, with objective to contribute for a didactic elaboration for interested in the subject.

Il s’agit de repenser les rapports entre littérature et aveu religieux dans le cadre d’une archéologie de l’autofiction contemporaine. En prenant en compte la construction mythique et fantasmatique du « Roman du XIXe siècle » comme paradigme du livre public, cette thèse envisage la scène romanesque de confession comme le lieu d’un métadiscours : ce dernier a pour objet le bouleversement des rapports entre espace public et sphère intime après le tournant de l’expressivisme romantique. Ce bouleversement nous paraît avoir été illustré diversement par six autrices et auteurs issus des espaces anglais, français et russe : Ann Radcliffe, Charlotte Brontë, George Sand, Fédor Dostoïevski, Maxime Gorki et Georges Bernanos. L’étude comparatiste de ces six œuvres déplace la question générique des confessions littéraires en resituant leurs scénographies dans la tradition religieuse et romanesque des mystères. La théâtralité de ces scènes de confession atteste, par ailleurs, une pénétration du mode de représentation dramatique sur le mode narratif. Ce dernier phénomène peut être abordé dans une perspective microsociologique, attentive aux inflexions historiques de la dramaturgie sociale comme aux ruptures de la présentation de soi. La scénographie des aveux imaginaires s’intègre enfin dans une histoire de l’aventure interprétative moderne et notamment dans celle de la critique littéraire, marquées, au XIXe siècle, par un processus de laïcisation de l’âme et par le triomphe d’une nouvelle culture de l’enquête. Si l’intériorité du sujet devient progressivement dans le roman l’objet d’un spectacle, elle parvient aussi, à travers les méandres de l’écriture, à se dérober aux nouvelles exigences de la visibilité. / This thesis reconsiders the relationship between literature and religious confession within the framework of an archaeology of contemporary autofiction. Taking into account the mythical and fantasmatic construction of the "Nineteenth Century Novel" as the paradigmatic public book, this research interprets the confession scene in novels as a locus of a metadiscourse, which is closely linked to the upheaval of relations between public space and intimate sphere after the expressivist turn in Romanticism. We consider this upheaval to have been variously illustrated by six authors from England, France, and Russia: Ann Radcliffe, Charlotte Brontë, George Sand, Fedor Dostoevsky, Maxim Gorky and Georges Bernanos. Studying these six works from a comparative standpoint allows us to shift the generic question of literary confessions through placing this scenography in the religious and romantic tradition of mysteries. Moreover, these confession scenes’ theatricality attests to a penetration of the dramatic mode into the narrative mode of representation. It can be approached from a microsociological perspective, by paying close attention to the historical inflections of social dramaturgy as well as to the disruptions of self-presentation. Lastly, the scenography of the imaginary confessions belongs to the history of modern interpretative adventure more particularly of literary criticism, both influenced in the nineteenth century by a process of secularization of the soul as well as the triumph of a new inquiry culture. If the subject’s interiority gradually becomes a spectacle in the novel, it also manages, through the meanders of writing, to evade the new demands of visibility.

When used in common vernacular, the terminology of the medium of theatre—"theatricality," "drama," "performance," "acting," "scene," etc."”form a vocabulary of "ideographs" as defined by Michael Calvin McGee. My analysis reveals that common usage of theatrical terms is more than merely metaphorical; the "theatre," rather, is a fundamental orienting concept for defining lived experience—it is ideology. By viewing the use of theatrical language as ideological, and analyzing how such terms define situations rhetorically, we begin to reveal the underlying ideology upon which the medium of theatre operates, and which it unconsciously conveys. I demonstrate this claim by analyzing the argument made by the stage image (an example, I argue, of a theatrical ideograph) in a cinematic context. I examine the filmed record of John Gielgud's 1964 Broadway production of Hamlet, released theatrically as Richard Burton's Hamlet, and Kenneth Branagh's 1996 cinematic adaptation of Hamlet. I conclude by discussing how theatrical ideology should inform a re-evaluation of spectacle generally, as well as discussions in mass media, politics, and the public sphere.

Confused Spaces has come to the conclusion that theatricality can be a device for defining different types of public space. This book aims to define theatricality in architectural terms by taking principles from the disciplines of theater and urban design. It limits the scope of the definition to a specific set of elements of theatricality that include spectacle, transition, flexibility, and compactability. After attempting to define why these elements of theatricality are valid architectural concepts, the text then pushes to understand the experience that these elements can create. Through the use of historical and contemporary references, an argument for theatricality can already be found to exist but simply has not been clearly defined. The best methods of studying the design concepts are initially discussed. It is believed that in addition to a thorough case study of an existing structure which practices theatricality, the best way to explain the concepts of the idea as well as analyze them would be through several design attempts. Architectural competitions become the venue for experimentation. Three competition entries are submitted that attempt to implement theatricality. One more competition is created and results in an exhibition of the entries as well as an installation which can be studied and analyzed in a physical space. By using principles distilled from all the preceding research and design analysis, a theoretical large-scale design is explored. The design combines significant site data with all the design principles defended in the text up to this point. The design becomes the most complete visual representation of the core concept for theatricality. In conclusion, it is determined that the principles of theatricality clearly have a significant impact on the public and the pedestrian experience. It is encouraged for the concept to be used as a design device for creating pedestrian-friendly spaces in the future.

The study departs from a technical examination of the panel painting Polyxena is Sacrificed in the Stockholm University Collection of Art, establishing the artistic process, level of ambition, and material choices by means of multispectral imaging techniques and elemental analysis. The artist, Jacob de Wet I, was both a well-reputed Haarlem-painter who specialized in small scale history paintings and headed a mass-producing workshop which supplied the low-end art markets of Haarlem and Amsterdam. The study places this artwork within the artist’s broad range of production. Further, the social and cultural contexts of the painting are investigated by comparing it to other artist’s versions of the subject, by means of an iconographical analysis of the image, and by examining its prominent theatrical features in relation to Dutch theatre traditions. By combining the technical, social, and cultural findings, the study aims to establish – and to delimit – a specific place in the art market and to suggest a possible type of customer for the painting. Confirming the work’s originality and authenticity, the results show an intuitive, thus likely time-consuming artistic process, a wide palette including expensive pigments – all indicative of a high level of ambition. In combination with the subject matter, these results suggest the painting to be a commissioned work. Further, the image and its social and cultural context, indicate the commissioner to be a person of some formal power within the Amsterdam society, seeking to communicate high erudition and to express liberal political views.  De Wet effectively expresses his message using a combination of painterly effects, including the materiality of the paint.