Thesis (B.A.) Summa Cum Laude --Butler University, 2009. / Includes bibliographical references (leaf 51).

Le laboratoire Woyzeck propose une approche de l'oeuvre de Büchner en trois temps, ordonnée autour de la métaphore anatomique. L'écriture de Woyzeck prend la forme d'une autopsie, indissociable des travaux scientifiques de Büchner réalisés à la même période. Le premier chapitre évoque ce geste d'écriture incisif et sa réception. Un état des recherches permet de considérer les analyses philologiques et herméneutiques de l'oeuvre qui font aujourd'hui autorité. Sont ici rappelés les lieux communs de la critique et les interprétations marquantes de la pièce. Si leur validité est ensuite interrogée, leur valeur symptomatique est aussi prise en compte sur un autre plan. Le deuxième chapitre prend la forme d'un essai portant sur les personnages et les corps, objets de l'autopsie. Il explore autrement des hypothèses formulées dans le premier chapitre autour du langage et du fragment. Le lieu de cette autopsie, la scène, est abordé dans le troisième chapitre à travers les mises à l'épreuve scéniques. Les trois spectacles choisis adoptent des partis pris dramaturgiques distincts. Celui de Thomas Ostermeier se présente comme un atelier social; « le cirque des travailleurs » d'Àrpàd Schilling est une machine à jouer qui semble relever le pari du théâtre de la cruauté artaudien; Robert Wilson travaille de pair avec Tom Waits pour créer un spectacle musical qui fait figure de conte populaire universel et autoréférentiel. Parmi les enjeux de ces mises à l'épreuve figurent notamment le rapport au réel et au présent, ainsi que le regard porté sur les corps que le texte de Georg Büchner invite à questionner. Dans un esprit d'ouverture et de confluence, en adéquation avec les travaux de Büchner, cette réflexion puise autant dans des notions d'analyse théâtrale que dans l'esthétique et l'histoire de la médecine. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Woyzeck, Regard, Fragment, Mise en scène.

Most of us try to do performance in pure style (mime, drama, clownerie, slap stick, physical theatre, opera, musical, ballet). I am interested in mixing of these styles. Robert Wilson works this way. For him movement is one of the basic means of communication. He works ? as mime theatre does ? with images (pictures). He works with hyperbole and big stylization, that is close to mime theatre. This thesis is interested in mime theatre or theatre of movement and its relation to other elements of theatre. The thesis also deals with the work of Robert Wilson and tries to show the interaction of the elements he uses for the stage image. A how he touches the audience with his work.

Contemporary operatic scenography has been undergoing broad aesthetic, theatrical and technological transformations. My dissertation analyzes the work of three key designer-directors—Robert Wilson, Achim Freyer, and Karl-Ernst Herrmann—in order to investigate the changing relationship between the visual and the theatrical in contemporary opera, as well as opera’s place within current trends in theatrical design and broader visual culture. Combining an analysis of current productions with wide-ranging archival research, I reconstruct and explore these artists’ individual stylistic development and their mutual influence. Through this focus on the hybrid figure of the contemporary designer-director, I address two key historical changes in operatic culture: first, the greatly increased importance of scenography and visuality in global opera and second, the emergence of new scenographic idioms, which have rapidly displaced the dominance of historicist and realist conventions in staging. Throughout, I show how Wilson, Freyer, and Herrmann’s work has been central to the development of a “new international style” in operatic scenography. Combining close visual analysis with historical contextualization, I examine how this style—characterized by abstraction, rich colors, striking lighting and radical theatrical effects—has transformed the look of opera, while also framing these developments within the longer history of modernist scenography, and the long-standing tensions between stylistic innovation and aesthetic traditionalism.

The thesis is based on scene designs for the play Lady from the sea. I focused on the concept of the game from the perspective of the actual playwright, Henrik Ibsen. To get a wider range of designs I decided to choose a modern staging by Robert Wilson and Luboš Hrůza. My goal was to accommodate the production as a source of inspiration and guidance on how to dispose the scene in my own design.

Orientador : Profª. Drª. Célia Arns de Miranda / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 31/10/2016 / Inclui referências : f. 165-168 / Resumo: A montagem teatral realizada por Robert Wilson a partir do texto-fonte A dama do mar (1888), de Henrik Ibsen, e de sua reescritura por Susan Sontag (1997) coloca em foco elementos como a voz, a luz, o cenário, a movimentação, a sonoplastia, ou seja, dá ênfase à visualidade e sonoridade. Este estudo analisa os mecanismos utilizados na transposição da obra original para a obra final, passando pela adaptação textual por Sontag, no contexto dos estudos da adaptação. É analisado o processo como a peça é transformada a partir das escolhas de Sontag, como os monólogos de frente para a plateia e a inclusão de textos folclóricos, e da estética de Wilson, que potencializa o substrato simbólico da peça com seu cenário e iluminação repletos de poesia, atuações que simulam o movimento de marionetes, gestual preciso e diálogos e movimentos propositadamente artificiais. Dentre os recursos utilizados para a análise, destaca-se a gravação em DVD do espetáculo apresentado em São Paulo em 2013 e a memória do espetáculo assistido ao vivo pela autora no mesmo ano; a peça de Susan Sontag publicada no Brasil pela editora n-1; entrevistas com atores da montagem, com o tradutor do texto de Sontag e o biógrafo da escritora, entre outras, e críticas sobre o espetáculo publicadas na mídia geral e especializada. A fundamentação teórica é proporcionado pelos estudos de Patrice Pavis, Linda Hutcheon, Robert Stam, Hans-Thies Lehmann, entre outros. Palavras-chave: A dama do mar. Adaptação. Robert Wilson. Henrik Ibsen. Susan Sontag. Teatro contemporâneo. / Abstract: The staging by Robert Wilson using the source text The Lady from the Sea, by Henrik Ibsen (1888), and its rewrite by Susan Sontag (1997) highligths elements such as voice, scenery, sound, lights and movement, which means it emphasizes visuality and sonorical aspects. This study analyzes the mechanisms used in the transposition of the original play to the final work, by means of the textual adaptation by Sontag, in the context of the studies of adaptation. The play is transformed because of Sontag's choices, such as the monologues facing the public and the insertion of folk texts. It is furthermore transformed by Wilson's aesthetics, which empowers the simbolic substrate of the original play with his scenery and lights full of poetry, acting that reminds the movement of puppets, precise gesture and artificial dialogue. Among the resources used for this analysis are the recording of the play presented in São Paulo in 2013 as well as the memory of the live show to wich the author attended in the same year; Susan Sontag's Lady from the Sea, published in Brazil by n-1 editions; interviews with actors from the play, its translator to Portuguese and Sontag's biographer, among others, and critic texts about the staging published in the general and specialized media. The theoretic writings of Patrice Pavis, Linda Hutcheon, Robert Stam and Hans-Thies Lehmann were used, among others. Key-words: Lady from the Sea. Adaptation. Robert Wilson. Henrik Ibsen. Susan Sontag. Contemporary theater.