Il existe un théâtre des pensées, un espace de création et de jeu où se révèle l’activité pensante. Dans leurs essais, Péguy, Valéry, Artaud et Michaux ont pratiqué un tel théâtre. Par-delà leurs différences, leurs pensées sont remarquables en ce qu’elles cherchent à se représenter à elles-mêmes à travers un modèle théâtral, lequel se configure au point d’intersection de trois théâtres. Le premier renvoie au théâtre réel du premier XXe siècle, qui voit se développer des expérimentations de mise en scène. Les lieux de spectacles et les milieux artistiques dans lesquels évoluent les quatre auteurs abordés participent à la diffusion de ces formes modernes de théâtralité, qui constituent de nouvelles possibilités de représentation dont s’imprègne leur imaginaire. Dans cet imaginaire se déploie un deuxième théâtre, théâtre intérieur auquel diverses voies – mystiques, poétiques (Baudelaire et Mallarmé) et philosophiques (Freud et Bergson) – donnent accès. Un troisième théâtre s’ouvre dans les textes, en se réalisant dans les formes et les valeurs de l’essai. La généalogie du genre, qui passe par Montaigne et Nietzsche, révèle comment, au cœur de l’écriture essayistique, interagissent théâtralisation des pensées et théâtralisation du texte. Une poïétique théâtrale se fonde que les quatre auteurs mettent en œuvre. Les pensées théâtralisées, faisant appel à des figures et des dispositifs qui rappellent ceux qui s’inventent sur les scènes modernes, sont mises en espace, en mouvement et en voix. Les textes veulent donner à voir ce théâtre des pensées où gestes, costumes, décors, éclairages, chœurs, etc., forment des compositions signifiantes. / There is such a thing as a theatre of the mind, a space for creation and play, in which the process of thinking is revealed. Péguy, Valéry, Artaud and Michaud have all experienced this in their essays. Beyond the differences that distinguish their works, their thinking processes are remarkable as they seek to reveal themselves through a model that finds its origin at the intersection of three forms of theatre. The first is the actual theatre of the early 20th Century, in which many experiments occur in the art of mise en scène. The stages and artistic settings in which these four authors evolve are vessels for the transmission of new and modern forms of theatricality ; they present the authors with new possibilities as far as performance is concerned, possibilities from which their minds take inspiration. On this inner stage of the mind, a second form of theatre unfolds to which various paths – mystical, poetic (Baudelaire and Mallarmé) and philosophical (Freud and Bergson) – give access. A third type of theatre can then be found in the four authors’ works, through the various shapes and values of essayistic writing. The genre’s genealogy, from Montaigne to Nietzsche, reveals, at its very core, an interaction between dramatizations of the mind and the text. In other words, a theatrical poietic emerges, which the four authors employ. The dramatized thoughts, calling on devices and mechanisms reminiscent of those being invented on modern stages, are put into place and pushed into movement, given a voice. The texts seek to show this theatre of the mind in which actions, costumes, décor, lighting, chorus, etc., intertwine, forming meaningful compositions

Esta dissertação aborda a teatralidade da palavra poética em Paranoia, primeiro livro de poemas de Roberto Piva, publicado no início dos anos 1960. Não se trata de poesia dramática, mas de poemas endereçados a uma assistência, operando nos limites entre Lírica e Épica, poesia e prosa oratória. A teatralidade do orador-declamador frente a um auditório está inscrita no texto, através de recursos como apóstrofes, anáforas, enumerações, o uso de paralelismos linguísticos, narrativas de forte teor imagético, efeitos de amplificação, paradoxos. Os poemas configuram-se, em grande parte, como caminhadas e reflexões de um sujeito lírico pela metrópole paulistana em meados do século XX, reconstituídas em chave onírica, sob o pathos da paranoia. Este sujeito é acometido por visões, que compõe um painel de acento épico de seu lugar e seu tempo, através da reelaboração de tópicos barrocos como o mundo como teatro, o mundo como labirinto, o mundo como sonho e a loucura do mundo. / This dissertation approaches the theatricality of the poetic word in Paranoia, the first poetry book by Roberto Piva, published in the beginnings of the sixties on the XX century. It´s not about dramatic poetry, but poems adressed to an audience, dealing with the borders of Lyric and Epic, poetry and oratory prose. The theatricality of the public orator-declaimer in front of an audience is inscribed in the text, using resources like apostrophe, anaphora, enumeration, linguistic parallelism, narrative of strong imagetic content, amplification effect, paradox. The poems are shaped, mostly, as walks and meditations of a lyric subject on the metropolis of São Paulo city in the middle of the XX century, reconstructed on a onirical key, under the pathos of paranoia. This subject is assaulted by visions, which compose a pannel of epic content about his place and his time, through the reworking of baroque style topics, such as world as theatre, world as labyrinth, world as dream, and world\'s madness.

Esta tese se propõe a investigar as potencialidades estéticas e críticas vinculadas à presença dos atores do cotidiano no âmbito das artes cênicas contemporâneas, com recorte em criações produzidas no Brasil e na Europa neste início de século XXI. O termo compreende pessoas que não necessariamente possuem formação artística e são convidadas a participar de uma criação a partir de uma perspectiva autorreferencial. Parte-se da hipótese de que a incorporação dos atores do cotidiano colabora para alterar o próprio \"regime de visibilidade\" (RANCIÈRE, 2009) dos corpos e subjetividades no âmbito das artes cênicas, ao ampliar as possibilidades sobre quem pode atuar no teatro e na dança. A partir do diálogo com os conceitos de teatros do real (SAISON, 1998; FERNANDES, 2010; MARTIN, 2013), teatralidade expandida (DIÉGUEZ, 2014; SÁNCHEZ, 2015) e teatralidade do público (CORNAGO, 2015), a pesquisa centra-se na análise da trajetória e de obras específicas de artistas da cena contemporânea que se destacam pelo trabalho com os atores do cotidiano, como o diretor francês Jérôme Bel, a brasileira Cia. Hiato, o coletivo suíço-alemão Rimini Protokoll e o diretor catalão Roger Bernat. A partir dessa análise, são traçadas algumas potencialidades vinculadas aos trabalhos, com destaque para a subversão de tradicionais códigos cênicos da representação, a intensificação da partilha de experiências com o espectador, a aproximação das artes cênicas com os campos da realidade e do cotidiano, a problematização de questões relativas à alteridade, a irrupção de uma teatralidade do coletivo, a projeção de espelhamentos com o público e sua participação na obra e, finalmente, o diálogo com o contexto onde o espetáculo acontece. Esse tipo de participação reflete um modo específico de expansão de linguagem do teatro e da dança. E mostra como a presença dos atores do cotidiano colabora para transformar as \"maneiras de fazer\" e os \"modos de pensabilidade\" (RANCIÈRE, 2009) das artes cênicas contemporâneas. / This thesis aims to investigate the aesthetic and critic potentialities related to the presence of the actors of everyday life in the context of contemporary performing arts, addressing creations produced in Brazil and Europe at the beginning of 21st century. The term includes people who do not necessarily have artistic training and are invited to take part in current creations from a self-referential perspective. We start from the hypothesis that the incorporation of actors of everyday life collaborate to change the \"regime of visibility\" (RANCIÈRE, 2009) of bodies and subjectivities in the context of performing arts, by broadening the possibilities about who acts in theatre and dance. From the dialogue with the concepts of theatres of the real (SAISON, 1998; FERNANDES, 2010; MARTIN, 2013), expanded theatricality (DIÉGUEZ, 2014; SÁNCHEZ, 2015), and audience theatricality (CORNAGO, 2015), this research focuses on the analysis of the trajectory and of specific works of artists from the contemporary scene who stand out by their work with actors of everyday life, such as French director Jérôme Bel, the Brazilian Cia. Hiato, the Swiss-German collective Rimini Protokoll, and Catalan director Roger Bernat. From this analysis, we outline some some potentialities linked to their works, focusing on the subversion of traditional theatrical codes of representation, the intensification of experience sharing with the spectator, the approach of the performing arts with the fields of reality and everyday life, the questioning of issues relating to otherness, the irruption of a theatricality of the collective, the projection of mirrors with the audience and its participation in the work, and, finally, the dialogue with the context in which the spectacle takes place. That kind of participation reflects a specific way with which theatre and dance have been working their language expansion. And it shows how the presence of everyday actors collaborates to transform the \"ways of doing\" and the \"ways of thinking\" (RANCIÈRE, 2009) of the contemporary performing arts.

O escritor Eugène Ionesco é um dos expoentes do teatro francês do século XX. Bastante conhecido por sua produção dramática de maneira especial, pelas peças La Cantatrice chauve e Rhinocéros , sua obra não se restringe, no entanto, à dramaturgia. Polemista, o autor escrevia textos de caráter ensaístico, muitas vezes em defesa da própria obra, e os publicava em jornais e revistas franceses, como Arts ou la Nouvelle Revue Française. Alguns desses textos, além de fragmentos de diário e notas acerca de suas peças, estão recolhidos sob o título Notes et contre-notes, publicado originalmente em 1962, obra que permite entrever o perfil crítico de Ionesco e as reflexões em relação ao fazer literário. O trabalho de pesquisa proposto consiste, pois, na análise dos textos que compõem Notes et contre-notes, buscando pensar uma teoria do teatro da derrisão, que se constrói dia a dia, por meio dos debates com a crítica em jornais e revistas. Da mesma maneira que existe na base das reflexões do dramaturgo uma ideia do teatro que as determina, também vemos no ataque/defesa em relação aos críticos uma ideia da crítica, anterior mesmo à sua produção dramática e que a extrapola amplamente. Para a investigação que ora proponho, acredito inverter o que seria o caminho mais habitual, da teoria ao texto teatral: aqui, penso de que maneira a teatralidade está implicada no perfil crítico de Ionesco. A pesquisa dos manuscritos do autor no Fundo Ionesco constituiu, nesse sentido, importante fonte para refletir sobre movimentos de escritura. A derrisão, expressa pela paródia dos modelos tradicionais, parece participar tanto da obra dramática quanto da obra crítica do escritor. / Eugène Ionesco is one of the most important writers of the French Theatre in the XXth century. Known by his dramatic production especially the plays The Bald Soprano and Rhinoceros his work is not restricted to drama. The polemic author used to write essays to defend his own work and published them in French newspapers and magazines, like Arts or la Nouvelle Revue Française. Some of these texts, besides journal fragments and notes about his plays, were collected in Notes et contre-notes, published in 1962. In this book, Ionescos critic profile and his reflections on literary writing are in evidence. This thesis analyses the texts that compose Notes et contre-notes, trying to think about a theory of the theater of derision which is constructed day by day, through discussions with the critics in journals. In the same way there is underlying the discussions of the playwright an idea of the theater, we can also notice in the attack/defense in relation to critics an idea of criticism. Following the investigation, I reverse the traditional way, from the theory to the theatrical text: I try to identify how theatricality is implicated in Ionescos critic profile. The manuscripts research of the author in the Fonds Ionesco is an important source to discuss writing procedures. Expressed by parody of the traditional examples, derision seems to take part in both dramatic and critic work of the writer

Made available in DSpace on 2016-04-28T19:58:58Z (GMT). No. of bitstreams: 1 Leila Bianca Melega Gallo.pdf: 1837293 bytes, checksum: 66a406a6cff7e8c2c38cdcfea9d7861e (MD5) Previous issue date: 2016-03-14 / This work investigates fissures between literature and theater, from the dramatization of the story "Missa do Galo", by Machado de Assis. The play, entitled "Missa do Galo", directed by Luiz Eduardo Frin, is part of the Machadianas Project, of Ágora Theatre. The research aims is to: reflect on the dramatization of this machadiano tale; seize, at the play, poetic procedures of modern and contemporary theater scene, as well as analyze the insertion of the epic element on stage. The need of the staging of the modern times in working with devices that do not connect representation to the verisimilitude, led this research to focus on the introduction of narrative expedient in contemporary theater scene, guiding through the following problematization: How far, the staging of play "A Missa do Galo," by Luiz Eduardo Frin, discusses the "theatricality", involving literature and theater? How does the epic and poetic staging live in the staging? The theoretical background concerning the conceptions of contemporary theater scene is mainly supported in the studies of Bertolt Brecht, Anatol Rosenfeld, Peter Szondi, Pierre Sarrazac and Hans-Thies Lehmann. The reasearch is also guided in authors such as Yves Stalloni, Emil Staiger, Roland Barthes and Silvia Fernandes to seize the intrinsic theatricality both in literature and in the staging. Among the final considerations, we emphasize: the play "A Missa do Galo" is not classified as a simple adaptation of Machado de Assis' tale, and it is up to the stage the responsibility to unveil Machado's tale through its dramatization / Este trabalho investiga fissuras entre literatura e teatro, a partir da teatralização do conto Missa do Galo , de Machado de Assis. A peça, intitulada A Missa do Galo , dirigida por Luiz Eduardo Frin, está inserida no Projeto Machadianas, do Ágora Teatro. A pesquisa tem como objetivos: refletir sobre a teatralização desse conto machadiano; apreender, na peça, procedimentos poéticos da cena teatral moderna e contemporânea, assim como analisar a inserção do elemento épico no palco. A necessidade da encenação dos tempos atuais em trabalhar com artifícios que não conectem a representação à verossimilhança, conduziu este trabalho a centrar-se na introdução de expedientes narrativos na cena teatral contemporânea, guiando-se pela seguinte problematização: Até que ponto, a encenação da peça A Missa do Galo , de Luiz Eduardo Frin, põe em discussão a teatralidade , envolvendo literatura e teatro? Como o épico e o poético convivem na encenação? A fundamentação teórica acerca das concepções da cena teatral contemporânea se apoia principalmente nos estudos Bertolt Brecht, Anatol Rosenfeld, Peter Szondi, Pierre Sarrazac e Hans-Thies Lehmann. Pauta-se, também, em autores como Yves Stalloni, Emil Staiger, Roland Barthes e Silvia Fernandes para apreender a teatralidade intrínseca tanto na literatura como na encenação. Entre as considerações finais, ressaltam-se: a peça A Missa do Galo não se classifica como uma simples adaptação do conto de Machado de Assis, e cabe ao palco a responsabilidade de desvendar o conto machadiano por meio de sua teatralização

A expressão compor música-como-teatro sintetiza e agrupa minhas contribuições no campo das relações entre composição musical e teatralidade, organizadas em três eixos de prática e autoanálise: 1- a situação de performance musical como espaço cênico; 2- a seleção e organização de materiais como jogo cênico e 3- estrutura e forma como encenação. A noção de compor música-como-teatro é delimitada em diálogo com: afirmativas e obras de compositores como Luciano Berio, Péter Eötvös, Gilberto Mendes, Mauricio Kagel e Georges Aperghis; as categorias teatro musical, teatro instrumental e Teatro Composto, abordadas na bibliografia sobre música de concerto pós-1960; as categorias teatralidade e dramaturgia, como discutidas em escritos de teóricos que abordam as artes cênicas. Em síntese, compositores se movem em direção ao teatro, eles compõem com materiais gestuais e visuais, gerando partituras/roteiros para performances cênico-musicais. A prática de compor música-como-teatro pressupõe a intenção expressiva de incorporar a dimensão estética de teatralidade da performance musical ao âmbito das escolhas composicionais. Avança ao adotar uma aproximação entre composição e dramaturgia: compor consiste em organizar um roteiro de ações com e sem implicação sonora concatenadas musicalmente ‒ ‒ e enquadradas em dispositivos de construção e deslizamento de sentidos narrativos. O portfólio apresenta partituras e registros audiovisuais de três peças: O Espelho (2015-2017), As Gerações dos Mortais Assemelham-se às Folhas das Árvores (2015-2017) e I saw them together ‒ I heard them together (2017). / The expression composing music-as-theater synthesizes and groups my contributions in the field of relations between musical composition and theatricality, organized into three axes of practice and self-analysis: 1- the situation of musical performance as scenic space; 2- the selection and organization of materials as scenic play; and 3- structure and form as staging. The notion of composing music-as-theater is delimited in dialogue with: stances and works of composers like Luciano Berio, Péter Eötvös, Gilberto Mendes, Mauricio Kagel and Georges Aperghis; the categories musical theater, instrumental theater and Composite Theater, addressed in the bibliography on post-1960 concert music; the categories theatricality and dramaturgy, as discussed in the writings of theorists dealing with performing arts. In synthesis, composers move towards theater, they compose with gestual and visual materials, generating scores / scripts for scenic-musical performances. The practice of composing music-as-theater presupposes the expressive intention of incorporating the aesthetic dimension of theatricality of musical performance into the scope of compositional choices. It advances by adopting an approximation between composition and dramaturgy: composing consists in organizing a script of actions with and ‒ without sound implication ‒ musically concatenated and framed in devices of construction and sliding of narrative meanings. The portfolio features scores and audiovisual recordings of three pieces: O Espelho (2015-2017), As Gerações dos Mortais Assemelham-se às Folhas das Árvores (2015-2017) e I saw them together ‒ I heard them together (2017).

This thesis presents theatrical queer feminist interpretations of architecture staged within a series of architectural scenes: architect Eileen Gray’s building E.1027 in the south of France (1926-29); author Natalie Barney’s literary salon at 20 rue Jacob, Paris (1909-1968); and author Selma Lagerlöf’s former home and memorial estate Mårbacka, situated in mid-west Sweden and transformed between 1919 and 1923. Interpreted as queer performative acts, or enactments of architecture, these cases bring into play the interconnectedness of material container, the setting, the deeds and the actors. A broad aim of the thesis is to explore the role played by architecture in the social and cultural constructions of bodies, in particular in relation to gender and sexuality. Architecture is investigated as one of the subjectivating norms that constitute gender performativity. The thesis is thus not only about but also operates through enactment. It masquerades as a series of lectures written in the form of scripted drama. The aim of this formal experiment is not only to explicate and critique from a detached perspective but also to represent architecture in the process of being enacted. Architecture is investigated not only as a theoretical metaphor but also as a concrete material practice always entangled with subject positions. With this exploration into the queerness and the theatricality of architecture, Behind Straight Curtains seeks to affect both the analysis and enactment of architecture and contribute to an architectural shift towards a built environment that does not simply repeat repressive structures but attempts to resist discrimination and dismantle hierarchies. / QC 20100630

The cult of sensibility in the eighteenth century celebrates delicate emotional responses. Such susceptibility to emotion, however, has to rely on somatic representations such as sighs, tears, convulsion, and faints. So, paradoxically, interiority is known to others only by outer bodily signs, signs that could just as easily reflect an affectation of sensibility as sensibility proper. The attempt to control the slippage in the reference between interiority and appearance becomes an anxious cultural feature of eighteenth-century men and, especially, women, of the higher classes. If sensibility requires such careful control and practice, its assumed spontaneity becomes a fiction. The performing body of sensibility turns into a screen that veils one¡¦s true interiority rather than a transparent reflection of it. The performing body is theatricalized¡X placed on the stage as a spectacle, examined by spectators. Sensibility falls prey to insincere, artificial, and affected performances. Emotional representations are constantly facing inroads of theatricality. When emotional expressions are rendered formulaic and reproducible, they lose their naturalness. Moreover, sensibility requires witnesses, spectators who can vouch for its authenticity (but never validate it beyond all doubt). Sensibility cannot proclaim itself because such proclamation would violate sensibility¡¦s principle of sheer sincerity and spontaneity. Theatricality, as an abstracted concept of theater, points both to the formulaic performances and to the model of spectator and spectacle in the theater. Sensibility is closely related to theatricality in these terms. This thesis aims to reveal the dynamics of the interplay between theatricality and sensibility in two eighteenth-century British novels. Both novels present a young heroine making her debut in the world after spending her formative years in seclusion with a male guardian. The Introduction reviews the eighteenth-century cult of sensibility. Chapter One discusses the theoretical and contextual relations between theatricality and sensibility. Chapter Two deals with Charlotte Lennox¡¦s novel The Female Quixote (1752), and how the heroine¡¦s sensibility is ridiculed as a form of self-theatricalization. Lennox gives the clash between sensibility and ridicule a generic dimension by blaming romance for the heroine¡¦s delusions. Chapter Three examines Frances Burney¡¦s epistolary novel Evelina (1778) and argues that the heroine¡¦s sensibility is both sealed and revealed in Burney¡¦s epistolary form since it enables Evelina to switch between being both spectator and spectacle. The conclusion briefly sums up the previous chapters and points out how, more generally, interpretations of literature can benefit from a recognition of the dynamics of theatricality and sensibility.

Esta dissertação aborda a teatralidade da palavra poética em Paranoia, primeiro livro de poemas de Roberto Piva, publicado no início dos anos 1960. Não se trata de poesia dramática, mas de poemas endereçados a uma assistência, operando nos limites entre Lírica e Épica, poesia e prosa oratória. A teatralidade do orador-declamador frente a um auditório está inscrita no texto, através de recursos como apóstrofes, anáforas, enumerações, o uso de paralelismos linguísticos, narrativas de forte teor imagético, efeitos de amplificação, paradoxos. Os poemas configuram-se, em grande parte, como caminhadas e reflexões de um sujeito lírico pela metrópole paulistana em meados do século XX, reconstituídas em chave onírica, sob o pathos da paranoia. Este sujeito é acometido por visões, que compõe um painel de acento épico de seu lugar e seu tempo, através da reelaboração de tópicos barrocos como o mundo como teatro, o mundo como labirinto, o mundo como sonho e a loucura do mundo. / This dissertation approaches the theatricality of the poetic word in Paranoia, the first poetry book by Roberto Piva, published in the beginnings of the sixties on the XX century. It´s not about dramatic poetry, but poems adressed to an audience, dealing with the borders of Lyric and Epic, poetry and oratory prose. The theatricality of the public orator-declaimer in front of an audience is inscribed in the text, using resources like apostrophe, anaphora, enumeration, linguistic parallelism, narrative of strong imagetic content, amplification effect, paradox. The poems are shaped, mostly, as walks and meditations of a lyric subject on the metropolis of São Paulo city in the middle of the XX century, reconstructed on a onirical key, under the pathos of paranoia. This subject is assaulted by visions, which compose a pannel of epic content about his place and his time, through the reworking of baroque style topics, such as world as theatre, world as labyrinth, world as dream, and world\'s madness.

Made available in DSpace on 2016-12-08T16:52:01Z (GMT). No. of bitstreams: 1 121228.pdf: 5167659 bytes, checksum: f3170376a0fe5cc99f36e610e07c07b7 (MD5) Previous issue date: 2013-03-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation aims to reflect on some artistic practices of urban intervention. The analysed practices are the ones performed within the city by artists or artistic groups, although outside the usual assigned spaces for performances and plays. To accomplish the task, it uses a mapmaking method that far than only mapping a preexistent production, also intends to compose a connection net among elements such as statements collected in interviews, theorical reference and the empirical artistic experience of the author. Groups and artists from cities such as Curitiba, Porto Alegre, Buenos Aires, Montevideo, Sevilla and Granada have been interviewed for this research. It could be confirmed that these urban interventions have been often connected to the 20th century artistic vanguards, when it comes to the desire of blurring the boundaries between art and life. Furthermore, they have been establishing themselves as micropolitical projects that singularize the referred spaces. This happens specially because of the 1960´s cultural changes contamination. In a reaction to the organization process of the post modern cities and it´s subordination to the economic capital holders, as well as their submission to the strenght of the internacional art market, these interventions present a political dimension in their poetical projects, although this content may not be expressed in a thematic manner. / O objetivo desta dissertação é refletir sobre algumas práticas artísticas de intervenção urbana, considerando como tal as ações realizadas na cidade, fora dos espaços destinados a mostras artísticas e espetáculos, por artistas ou coletivos artísticos. Para tanto, vale-se de um método cartográfico que, mais do que mapear uma produção preexistente, propõe-se à composição de uma rede de conexões entre elementos tais como as falas coletadas em entrevistas, referências teóricas associadas ao tema em questão e a prática artística do autor da pesquisa. Foram entrevistados grupos e artistas das cidades Curitiba, Porto Alegre, Buenos Aires, Montevidéo, Sevilha e Granada. Pude verificar que as intervenções urbanas possuem uma tradição ligada às vanguardas artísticas do século XX, no que tange ao desejo de borrar as fronteiras entre arte e vida. Contudo, vem se configurando enquanto projetos micropolíticos de singularização do espaço, devido a sua contaminação por mudanças culturais surgidas, sobretudo, após 1960. Numa reação ao processo de organização das cidades pós-modernas - e sua submissão aos detentores do capital econômico -, bem como à força de um mercado de arte internacional, estas intervenções apresentam uma dimensão política em seus projetos poéticos, ainda que tal conteúdo possa não estar expresso de forma temática.