Si l'auto sacramental baroque du XVIIe siècle est aujourd'hui amplement étudié, moins fréquentes sont les études consacrées aux drames eucharistiques espagnols du XVIe siècle, et plus rares encore celles qui ont pris comme objet la théâtralité spécifique de ces modestes pièces de la Renaissance. Travailler sur les pièces eucharistiques du XVIe siècle demandait une réflexion préalable sur l'origine d'un genre dramatique qui s'est développé dans la péninsule ibérique tout au long de la Renaissance, époque à laquelle la question religieuse a fréquemment occupé le devant de la scène (crypto-judaïsme, Concile de Trente, Contreréforme, question des morisques). Toutefois, ce n'est pas seulement l'interrogation obsédante concernant l'origine des drames eucharistiques qui a guidé ces travaux, mais surtout le concept de théâtralité —on entend par là les signes inscrits dans le texte dramatique et possédant un potentiel de spectacularité—, afin de rechercher comment ce théâtre s'est progressivement doté des caractéristiques qui lui sont propres. C'est sur un corpus de trente-deux pièces d'origines et de style divers que nous avons construit une réflexion dont le premier point concerne l'espace dramatique et montre que les lieux infernaux et célestes acquièrent une importance croissante dans ce théâtre. L'analyse des dialogues et de leur enchaînement a permis ensuite de souligner la place prise par les figures d'"attaque" et de "mouvement-vers", suivant la terminologie vinaverienne. Par ailleurs, en nous inspirant de concepts sémiotiques relatifs aux structures "sémio-narratives de surface" comme le modèle actantiel de Greimas, nous avons montré les différentes stratégies discursives propres aux drames eucharistiques, afin de mieux pénétrer les mécanismes qui régissent les dialogues et caractérisent les liens entre les personnages de ce théâtre. L'évolution des éléments comiques a pu être mise en relief par une étude minutieuse des procédés langagiers, gestuels, ou encore des effets tirés de l'utilisation de personnages populaires. Enfin, une approche de l'allégorie (élément considéré comme fondamental dans l'auto sacramental), sous l'angle de la théâtralité, a souligné combien les développements successifs de cette figure dans le drame eucharistique du XVIe siècle l'ont doté d'une structure cohérente permettant des effets toujours plus spectaculaires. / Allthough17th century baroque Spanish sacramental plays have been thoroughly studied, the same cannot be said of 16th century Spanish Eucharistic dramas and even less so of the theme of specific theatricality in the modest Renaissance plays. The study of 16th century Eucharistic plays required prior thought on the origins of a dramatic genre which developed in the Iberian peninsula throughout the Renaissance years, a period when religion was frequently the main issue (The crypto-Judaism, Council of Trent, the Counter-Reformation and the Moriscos). However, it is not just the obsessive questioning concerning the origins of Eucharistic dramas which guided these studies but above all the theatricality concept, by that we mean the signs containing a spectacularity potential within the dramatic text. This is essential in order to understand how this kind of theatre gradually acquired its own specific characteristics. We have worked on thirty-two original plays written in different styles. Our first point of interest was the dramatic space which shows that hellish and heavenly places acquire an increasing importance in this kind of theatre. The analysis of dialogues and of how they are linked together then allowed us to emphasize the space taken up by the “attack” and “movement-towards” figures (Michel Vinaver’s terminology). Additionally, by taking inspiration from semiotic concepts relative to “surface semio-narrative” patterns like the Greimas’ actancial model, we have shown different discursive strategies specific to Eucharistic dramas. This allowed us to study more thoroughly the mechanisms determining the dialogues and which characterize the links between the characters of this theatre. The evolution of comical elements has been highlighted by a detailed study of language and gestural techniques as well as a study of the effects produced by using typical theatre characters. Finally, an approach of the allegory in theatricality (element considered as fundamental in Spanish sacramental plays), has emphasized to which extent successive developments of this structure in 16th century Eucharistic drama have given a coherent structure to theatricality making the effects even more spectacular.

Submitted by Nathalya Silva (nathyjf033@gmail.com) on 2017-06-06T17:57:13Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_TreinamentoAnatomiaActancial.pdf: 9184260 bytes, checksum: a043ce4b9100ac45ba3244e69c089838 (MD5) / Approved for entry into archive by Edisangela Bastos (edisangela@ufpa.br) on 2017-06-09T15:37:59Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_TreinamentoAnatomiaActancial.pdf: 9184260 bytes, checksum: a043ce4b9100ac45ba3244e69c089838 (MD5) / Made available in DSpace on 2017-06-09T15:37:59Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_TreinamentoAnatomiaActancial.pdf: 9184260 bytes, checksum: a043ce4b9100ac45ba3244e69c089838 (MD5) Previous issue date: 2016-06-28 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho de investigação artístico-científica cria um treinamento corporal baseado no estudo anatômico e cinesiológico efetuado pela autora, de alguns teóricos da dança e do teatro do século XX referentes a: Vsévolod Meyerhold, Étienne Decroux, Tatsumi Hijikata, Kazuo Onho, Eugenio Barba e Pina Bausch, mormente no que tange as suas ferramentas didáticas voltadas ao desempenho dessa arte cênica, o qual permita aperfeiçoar as capacidades físicas do atuante compreendidas como a força-resistência, flexibilidade e elasticidade, objetivando dirimir ou prevenir as lesões apresentadas no âmbito do sistema músculo-esquelético das costas. O texto apresenta estudos comparativos de anatomia, feitos pela autora, ligados aos conceitos de anatomia actancial e da adaptação patológica social. Ademais, os temas encontrados e criados durante a investigação apontam para o fato de que as ferramentas de ensino, quando inerentes ao trato de peculiaridades anatômicas, vinculam-se aos sistemas psicofísicos e de energia originados, açambarcados e nutridos pelo organismo em treinamento. A partir desses sistemas, surgem prospectos alicerçados na anatomia do movimento, nas lesões da coluna vertebral e a pedagogia e a didática da formação actancial no treinamento de teatro e de dança, em um contexto examinado acorde a sua integralização orgânica psicofísica. Em seu maior escopo, aqui, empenha-se, por meio da linguagem cênica e da pedagogia do treinamento actancial, lidar como tratáveis as lesões músculo-esqueléticas das costas, assim como preveni-las durante o desempenho, exploração, laboratório e trabalho cênico do atuante. / This artistic and scientific research creates a corporal expression, based on the systematic study of the anatomy and kinesiology of some theorists of the twentieth century, they are: Vsevolod Meyerhold, Etienne Decroux, Tatsumi Hijikata, Kazuo Onho, Eugenio Barba and Pina Bausch, implemented by the researcher, highlighting in the process of analysis the didactics tools focused on scenic performance of the actant, allowing to perfect the physical abilities, understood as: strength - resistance, flexibility and elasticity; aiming to reduce the injuries presented in the musculoskeletal system back. The text contains comparative studies of anatomy, made by researcher, they are linked to the concepts of actantial anatomy and pathological social adaptation. So the issues found and created during the research aim to the factor that the didactic tools of the performing arts, when included or related to anatomical peculiarities, they concern to the psychophysical and energy systems, they are caused, covered and nourished by the body in training. From these systems of training, appeared evident linked to the anatomy of movement, the injuries of the spine, the pedagogy and the didactics of the Actantial formation; in a context that integrates the psychophysical and organic qualities of Actantial training. Finally, here, it insists through the scenic language and pedagogy of Actantial training, cope with treatable the skeletal muscle back injuries, as well as prevent them in the performance, exploration, laboratory and stage work of actant.

In this thesis, the main male characters in three of the plays written by Federico García Lorca are analysed with the aim of seeingthe role they play in the frustration of desire. After two chapters dedicated to a review of published critical studies on Lorca and tocertain theoretical considerations, Chapter Three examines desire drawing on Ubersfeld's actancial model and observes that thesemale characters can be divided into two groups: those who are desired and those who are undesired.In Chapter Four this classification is linked to an analysis of absence, prohibition and lack. Absence is here defined not asrelated to their non-appearance on stage but rather to their non-presence in the lives of the desiring female protagonists. It isobserved that a number of male characters are absent in the plays mainly due to death or a journey. As far as prohibition isconcerned, in two of the works, there is a moral code associated with concepts such as "honour" and "decency", which blocks thefemale characters' access to the males they desire. Chapter Four also shows how several characters can be considered as lacking inthe sense that they do not possess the ideal male qualities contained in the plays. This chapter reaches the conclusion that desiredmale characters are either absent or forbidden in the world of the desiring female, whereas undesired male characters are lacking inthe sense that they fail to live up to the ideal highlighted in the plays.Chapter Five analyses the female characters' perception of the male figures, making use of René Girard's notion of"transfiguration", which alludes to a process of idealisation of the object of desire. Our analysis reveals a connection betweendesire, denied access to the object of desire and transfiguration in the main subjects of desire. The phenomenon of "transfiguration"has several functions in the play: firstly, the creation of hyperbolical male characters; secondly, that of transmitting the intensity ofthe desire experienced and, finally, the highlighting of the lack of certain qualities in several male characters.We thus observe that, in these three plays written by García Lorca, Girard's pessimistic view of desire is confirmed, since desireneeds a series of obstacles, such as absence or prohibition, to survive. However, this is not the only explanation for the frustrationof desire: other factors, like the actions of certain male characters or destiny, also play a decisive role.

O projeto propõe-se a analisar o modo como os signos teatrais se organizam e se estruturam no processo de constituição de sentido do espetáculo de teatro de rua O vendedor de palavras, encenado pelo Grupo Mototóti no Parque da Redenção em Porto Alegre. O seu objetivo é observar o funcionamento do código teatral como conceito catalisador dos diversos elementos que constroem material e concretamente a obra cênica, refletindo a partir de estudos realizados por Anne Übersfeld, Patrice Pavis e Erika Fischer-Lichte, além de outros autores do campo da semiótica teatral. O debate acerca da teatralidade acontece no registro da presente pesquisa como parte de uma metodologia que inclui a análise dos diversos signos, a reflexão proveniente do modelo actancial greimasiano e o estudo do personagem. / This project aims at analysing how the theatrical signs are organized and structured in the process which leads to the creation of meaning in the outdoors presentation of the play O vendedor de palavras (The Seller of Words) by the Mototóti Group at Redenção Park in Porto Alegre, Rio Grande do Sul, Brazil. It is also its aim to observe the function of the theatrical code as a catalyst concept of the several elements that materially and concretely create a scenic work, theoretically based on studies by Anne Übersfeld, Patrice Pavis, and Erika Fischer-Lichte, as well as other authors who work in the field of the theatrical semiotics. The methodology used in the present research for the debate about the theatricality includes the analysis of the diverse signs, reflections from A. J. Greimas's actancial model and the study of character.

O projeto propõe-se a analisar o modo como os signos teatrais se organizam e se estruturam no processo de constituição de sentido do espetáculo de teatro de rua O vendedor de palavras, encenado pelo Grupo Mototóti no Parque da Redenção em Porto Alegre. O seu objetivo é observar o funcionamento do código teatral como conceito catalisador dos diversos elementos que constroem material e concretamente a obra cênica, refletindo a partir de estudos realizados por Anne Übersfeld, Patrice Pavis e Erika Fischer-Lichte, além de outros autores do campo da semiótica teatral. O debate acerca da teatralidade acontece no registro da presente pesquisa como parte de uma metodologia que inclui a análise dos diversos signos, a reflexão proveniente do modelo actancial greimasiano e o estudo do personagem. / This project aims at analysing how the theatrical signs are organized and structured in the process which leads to the creation of meaning in the outdoors presentation of the play O vendedor de palavras (The Seller of Words) by the Mototóti Group at Redenção Park in Porto Alegre, Rio Grande do Sul, Brazil. It is also its aim to observe the function of the theatrical code as a catalyst concept of the several elements that materially and concretely create a scenic work, theoretically based on studies by Anne Übersfeld, Patrice Pavis, and Erika Fischer-Lichte, as well as other authors who work in the field of the theatrical semiotics. The methodology used in the present research for the debate about the theatricality includes the analysis of the diverse signs, reflections from A. J. Greimas's actancial model and the study of character.

O projeto propõe-se a analisar o modo como os signos teatrais se organizam e se estruturam no processo de constituição de sentido do espetáculo de teatro de rua O vendedor de palavras, encenado pelo Grupo Mototóti no Parque da Redenção em Porto Alegre. O seu objetivo é observar o funcionamento do código teatral como conceito catalisador dos diversos elementos que constroem material e concretamente a obra cênica, refletindo a partir de estudos realizados por Anne Übersfeld, Patrice Pavis e Erika Fischer-Lichte, além de outros autores do campo da semiótica teatral. O debate acerca da teatralidade acontece no registro da presente pesquisa como parte de uma metodologia que inclui a análise dos diversos signos, a reflexão proveniente do modelo actancial greimasiano e o estudo do personagem. / This project aims at analysing how the theatrical signs are organized and structured in the process which leads to the creation of meaning in the outdoors presentation of the play O vendedor de palavras (The Seller of Words) by the Mototóti Group at Redenção Park in Porto Alegre, Rio Grande do Sul, Brazil. It is also its aim to observe the function of the theatrical code as a catalyst concept of the several elements that materially and concretely create a scenic work, theoretically based on studies by Anne Übersfeld, Patrice Pavis, and Erika Fischer-Lichte, as well as other authors who work in the field of the theatrical semiotics. The methodology used in the present research for the debate about the theatricality includes the analysis of the diverse signs, reflections from A. J. Greimas's actancial model and the study of character.

nÃo hà / O presente trabalho tem por objetivo principal descrever, à luz da semiÃtica francesa, greimasiana, o efeito de blindagem, entendido aqui como uma proteÃÃo contra a identificaÃÃo do sujeito-humorista com um universo axiolÃgico especÃfico, produzido pelo discurso humorÃstico. Para tanto, partimos de uma concepÃÃo de enunciaÃÃo como instÃncia pressuposta do enunciado que, como tal, somente pode ser descrita ou reconstruÃda pelas marcas deixadas no enunciado. Como implicaÃÃo dessa concepÃÃo de enunciaÃÃo, buscamos ainda descrever os procedimentos enunciativos e comunicativos que caracterizariam uma dinÃmica identitÃria, um procedimento enunciativo, portanto, a que convencionamos chamar sujeito-humorista. Fica evidente que nosso propÃsito nÃo passa por identificar um sujeito empÃrico, mas sim um modo de operaÃÃo discursiva que julgamos envolver estratÃgias enunciativas, de debreagem e de embreagem; ambiguidade do acordo comunicativo, fiduciÃrio e veridictÃrio; e ainda os modos de interaÃÃo mobilizados pelo enunciado humorÃstico. Dado que nosso objeto, a blindagem, nÃo se presta a uma anÃlise quantificÃvel numericamente, adotamos uma metodologia qualitativa. Por esse caminho, selecionamos textos reconhecidos como humorÃsticos que assumem o papel de exemplificar nossas reflexÃes acerca do fenÃmeno de blindagem. Os resultados de nossas leituras demonstraram que o efeito de blindagem se produz à medida em que os procedimentos enunciativos mobilizados e os acordos comunicativos estabelecidos esvaziam semanticamente o sujeitohumorista, criam instÃncias enunciativas com diferentes graus de profundidade e impedem a atribuiÃÃo ao sujeito-humorista da conjunÃÃo ou disjunÃÃo dos valores atualizados pelo enunciado. / O presente trabalho tem por objetivo principal descrever, à luz da semiÃtica francesa, greimasiana, o efeito de blindagem, entendido aqui como uma proteÃÃo contra a identificaÃÃo do sujeito-humorista com um universo axiolÃgico especÃfico, produzido pelo discurso humorÃstico. Para tanto, partimos de uma concepÃÃo de enunciaÃÃo como instÃncia pressuposta do enunciado que, como tal, somente pode ser descrita ou reconstruÃda pelas marcas deixadas no enunciado. Como implicaÃÃo dessa concepÃÃo de enunciaÃÃo, buscamos ainda descrever os procedimentos enunciativos e comunicativos que caracterizariam uma dinÃmica identitÃria, um procedimento enunciativo, portanto, a que convencionamos chamar sujeito-humorista. Fica evidente que nosso propÃsito nÃo passa por identificar um sujeito empÃrico, mas sim um modo de operaÃÃo discursiva que julgamos envolver estratÃgias enunciativas, de debreagem e de embreagem; ambiguidade do acordo comunicativo, fiduciÃrio e veridictÃrio; e ainda os modos de interaÃÃo mobilizados pelo enunciado humorÃstico. Dado que nosso objeto, a blindagem, nÃo se presta a uma anÃlise quantificÃvel numericamente, adotamos uma metodologia qualitativa. Por esse caminho, selecionamos textos reconhecidos como humorÃsticos que assumem o papel de exemplificar nossas reflexÃes acerca do fenÃmeno de blindagem. Os resultados de nossas leituras demonstraram que o efeito de blindagem se produz à medida em que os procedimentos enunciativos mobilizados e os acordos comunicativos estabelecidos esvaziam semanticamente o sujeitohumorista, criam instÃncias enunciativas com diferentes graus de profundidade e impedem a atribuiÃÃo ao sujeito-humorista da conjunÃÃo ou disjunÃÃo dos valores atualizados pelo enunciado. / The main purpose of this doctoral thesis is to describe, in the light of the French Semiotics, Greimasian, the shielding effect, understood here as a protection against the identification of the subject-humorist with a specific axiological universe, produced by humorous discourse. For this, we start from a conception of enunciation as a presupposed instance of the utterance which, as such, can only be described or reconstructed by the marks left in the utterance. As an implication of this conception of enunciation, we also try to describe the enunciative and communicative procedures that would characterize an identity dynamics, an enunciative procedure, therefore, what we call the subject-humorist. It is evident that our purpose is not to identify an empirical subject, but rather a discursive mode of operation that we think involves enunciative strategies, shifting out and shifting in; ambiguity of the communicative, fiduciary and veridictory agreement; and also the modes of interaction mobilized by the humorous statement. Since our object, the shield, does not lend itself to a numerically quantifiable analysis, we adopted a qualitative methodology. Through this path, we select texts recognized as humorous that assume the role of exemplifying our reflections about the phenomenon of shielding. The results of our analyzes showed that the shielding effect occurs as the mobilized enunciative procedures and the established communicative agreements empty the subject-humorist semantically, create enunciative instances with different degrees of depth and preclude the attribution to the subject-humorist of the conjunction or disjunction of the values updated by the statement. / The main purpose of this doctoral thesis is to describe, in the light of the French Semiotics, Greimasian, the shielding effect, understood here as a protection against the identification of the subject-humorist with a specific axiological universe, produced by humorous discourse. For this, we start from a conception of enunciation as a presupposed instance of the utterance which, as such, can only be described or reconstructed by the marks left in the utterance. As an implication of this conception of enunciation, we also try to describe the enunciative and communicative procedures that would characterize an identity dynamics, an enunciative procedure, therefore, what we call the subject-humorist. It is evident that our purpose is not to identify an empirical subject, but rather a discursive mode of operation that we think involves enunciative strategies, shifting out and shifting in; ambiguity of the communicative, fiduciary and veridictory agreement; and also the modes of interaction mobilized by the humorous statement. Since our object, the shield, does not lend itself to a numerically quantifiable analysis, we adopted a qualitative methodology. Through this path, we select texts recognized as humorous that assume the role of exemplifying our reflections about the phenomenon of shielding. The results of our analyzes showed that the shielding effect occurs as the mobilized enunciative procedures and the established communicative agreements empty the subject-humorist semantically, create enunciative instances with different degrees of depth and preclude the attribution to the subject-humorist of the conjunction or disjunction of the values updated by the statement.