[pt] Desde que o conceito de luto foi tomado como objeto de estudo pela psicanálise, há uma tendência a pensá-lo somente enquanto capacidade de vivenciar e superar as perdas por que se passa durante a vida. No entanto, ampliações teóricas nos permitem conceber também o seu importante papel no processo de desenvolvimento desde os primeiros momentos da vida de um indivíduo. Partindo do conceito de luto fundamental e de sua vivência na primeira infância, promovemos uma reflexão psicanalítica sobre as perdas e o processo de luto, abordando ainda sua inter-relação com a possibilidade de elaborar os lutos por perdas na vida adulta. A partir de Freud e sua metáfora da sombra em Luto e Melancolia, propomos um entendimento de como o objeto perdido pode tanto sufocar o ego com sua sombra ou enriquecê-lo com sua luz. Para isso, retomamos os conceitos de introjeção e incorporação, diferenciando-os, e mostramos que, enquanto os processos introjetivos estão ligados à elaboração satisfatória do luto, a incorporação estaria mais ligada a processos menos saudáveis. Por fim, discute-se a questão do acting out no caso de pacientes graves que podem fazer uma escolha inconsciente por compartilhar do mesmo destino do objeto perdido diante da impossibilidade de elaboração de uma perda. Tal escolha pode se traduzir no engajamento em comportamentos compulsivos, situações de risco e/ou autodestrutivas, além de formas diretas e indiretas de suicídio. Neste sentido, são apresentados fragmentos de casos clínicos – as histórias de vida e de morte – para ilustrar algumas dessas situações. / [en] Since the concept of mourning has been taken as the object of study by psychoanalysis, there is a tendency to think as only as a capacity to experience and overcome the losses that occur during life. However, theoretical extensions allow us to also conceive of its important role in the development process from the earliest moments of an individual s life. Starting from the concept of fundamental mourning and its experience in early childhood, we promote a psychoanalytic reflection on the losses and the process of mourning, also addressing its interrelationship with the possibility of elaborating the mourning for losses in adult life. From Freud and his metaphor of the shadow in Mourning and Melancholy, we propose an understanding of how the lost object can either suffocate the ego with its shadow or enrich it with its light. In order to do so, we return to the concepts of introjection and incorporation, differentiating them, and we show that while the introjective processes are linked to the satisfactory elaboration of mourning, the incorporation would be more related to less healthy processes. Finally, the issue of acting out is discussed in the case of severe patients who may make an unconscious choice by sharing the same fate of the lost object in the face of the impossibility of drawing a loss. Such choice can be translated into engaging in compulsive behaviors, risky and or self-destructive situations, as well as direct and indirect forms of suicide. In this sense, fragments of clinical cases – the life and death stories – are presented to illustrate some of these situations.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-24T16:53:55Z No. of bitstreams: 1 Dissertação Emerson Almeida PPGAC 2015.pdf: 10306725 bytes, checksum: 2f3f53af78606022beae5445c26d2ae7 (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-24T18:24:03Z (GMT) No. of bitstreams: 1 Dissertação Emerson Almeida PPGAC 2015.pdf: 10306725 bytes, checksum: 2f3f53af78606022beae5445c26d2ae7 (MD5) / Made available in DSpace on 2018-08-24T18:24:03Z (GMT). No. of bitstreams: 1 Dissertação Emerson Almeida PPGAC 2015.pdf: 10306725 bytes, checksum: 2f3f53af78606022beae5445c26d2ae7 (MD5) / Esta dissertação tem por objetivo analisar e apresentar possibilidades que facilitem a consciência corporal do ator para o desempenho da cena, apoiando-se nos conceitos da anatomia e da cinesiologia. Parte-se do pressuposto de que o ator, ao conhecer a sua estrutura orgânica, estimula a sua percepção corporal e a consciência dos movimentos necessários à criação do papel. No campo das Artes Cênicas a pesquisa se apóia na ideia de proporcionar o treinamento do ator por meio de técnicas corporais que o levem a ampliar o conhecimento de si próprio para atingir prontidão necessária à encenação e tem como eixo o trabalho das ações físicas e como referências o Método das Ações Físicas de Stanislávski, o Teatro Laboratório de Grotowski e a Antropologia Teatral de Barba. Além das referências e cruzamentos teóricos a pesquisa é caracterizada como estudo de caso com enfoque descritivo, de abordagem qualitativa, uma vez que discute e questiona, por meio de relatos de atores e experiências práticas realizadas em salas de ensaio, se a inserção de conteúdo relativo ao construto orgânico do ser humano no contexto da preparação corporal, sob o ponto de vista da anatomia e da cinesiologia, com o suporte do Pilates e da Reeducação Postural Global (RPG), pode propiciar o ator a acessar a consciência corporal no intuito de facilitar o processo de composição das ações físicas na construção de um papel. / This thesis aims to analyze and present possibilities to facilitate body awareness actor for the performance of the scene, leaning on the concepts of anatomy and kinesiology. It starts from the assumption that the actor, to know its structure, stimulates your body perception and awareness of movements needed to create the role. In the Performing Arts field the research is based on the idea of providing the actor's training through body techniques that lead to increase the knowledge of himself to achieve readiness needed for staging and its axis is the work of physical actions referenced by Method of Physical Actions of Stanislavsky, Grotowski Laboratory Theatre and the Theatrical Anthropology Barba. Beyond references and theorists cross the search, characterized as a case study with a descriptive and qualitative approach, discusses and questions, through reports of actors and practical experiments carried out in rehearsal rooms, if the inclusion of content related to organic construct the human body in the context of preparation, from the point of view of anatomy and kinesiology, with the support of Pilates and Global Postural Reeducation (RPG), may provide the actor to access the body awareness in order to facilitate the composition process of physical actions over the development of a scenario.

Thesis (MDram (Drama))--Stellenbosch University, 2008. / The general aim of this study was to establish why students at Stellenbosch University embarked on a course in Drama. The initial hypothesis was that students were attracted to the expressive, therapeutic features inherent to this field of study. A questionnaire was designed to test this hypothesis. However, in the early stages of the project, feedback from the Drama students of 2005 and, at a later stage, that of the first-year Drama students of 2006 and 2007 proved the hypothesis to be incorrect. The specific questionnaire that was handed out to students also included questions that would enhance the interest value of the survey, such as: “What question was the most frequently asked by your friends and relatives enquiring about your Drama studies?” Responses to the latter question, amongst others, triggered two other pilot studies. The aforementioned studies were conducted among 110 students from different disciplines on the US (University of Stellenbosch) campus, as well as among 65 respondents in the Stellenbosch area, and focused on perceptions around Drama students and the drama profession as such. The final study contained the following three problem statements: 1. Are there any stereotypical prejudices towards Drama students? If so, who and what is the Drama student in terms of personality type and character traits? 2. Are there any stereotypical prejudices towards this field of study and the professional field? If so, what do the field of study and the professional field constitute within the South African context? 3. Why Drama? or rather, what is the purpose of Drama, and what motivates students at Stellenbosch University (SU) to choose this particular profession, given the current perceptions? The supporting theories and the data, though not wholly significant, indicated that a marked degree of stereotyping existed with regard to Drama students and the profession. These perceptions about the students and the related professions have also been validated by the limited number of existing studies that could be found on this topic. Moreover, feedback from 253 Drama students revealed that they had decided to study Drama for a variety of reasons, and not only because a successful career in this field will inevitably lead to stardom and fame, which is contrary to what people generally tend to believe.

Thesis (MDram)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: In this thesis the author investigates aspects of the use of improvisation and improvisational methods, techniques and exercises by modem practitioners. The study commences with a look at the beginnings of modem improvisation in the nineteenth century, when improvisation was used only tentatively by performers as a preproduction aid to the exploration of character and personal response. In more recent times the process has become one of collaboration and research; as a means of selfdiscovery, as a means of text creation and as a vehicle for finding a 'voice' for the silent majority within a particular community or society. This study also traces the use of improvisation in South Africa where the improvisational process has been incorporated into democratic and collaborative forms like workshop theatre and workers' theatre, and serves as a useful method of political investigation and conscientisation. The study will also briefly touch what on is now termed 'theatre-fordevelopment', since its practitioners make extensive use of improvisational techniques, and its techniques are allied to those of workers' and workshop theatre. The final chapter provides an application of the theories discussed in the bulk of the study in a brief discussion of the author's own attempts at utilising improvisation as a directing and scriptwriting tool in a student production. / AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek die outeur die gebruik van improvisasie en die verskillende metodes, tegnieke en praktiese toepassings daarvan deur moderne praktisyns. Die tesis begin deur te kyk na die oorsprong van moderne improvisasie in die 1ge eeu toe imporvisasie slegs tentatief deur akteurs gebruik is om vóór die produksiefase as 'n hulpmiddel te dien om 'n karakter en persoonlike reaksies te ondersoek. Die proses het onlangs tot een van samewerking en navorsing verander; as 'n methode tot selfontdekking, 'n hulpmiddel by teks-skepping en as 'n medium om 'n "stem te vind" vir die 'stille meerderheid' binne 'n gegewe gemeenskap of samelewing. Hierdie studie ondersoek ook die gebruik van improvisasie in Suid Afrika waar die improvisasieproses in demokratiese en spanwerk vorme soos bv. werkswinkelteater en werkersteater geïnkorporeer is, waar hulle as uiters nuttige vorme van politieke ondersoek en -bewusmaking dien. Die studie raak ook vlugtig aan 'teater-virontwikkeling', aangesien die praktisyns daarvan grootliks gebruik maak van improvisasie-tegnieke en die tegnieke wat hulle gebruik redelike ooreenstem met dié van werkswinkelteater en werkersteater. Die finale hoofstuk verskaf 'n toepassing van die verskeie teorieë wat in die hoofgedeelte van die tesis bespreek word, in 'n kort bespreking van die outeur se eie pogings om improvisasie as 'n regie- en teksskeppingsinstrument in 'n studenteproduksie, te gebruik.

Theatre artists and acting teachers throughout history have sought to find and create presence. By combining modern sports science with an understanding of systems of actor training I have suggested an approach that makes presence a trainable skill. My coach Dr. Scott Sonnon, developer of the Circular Strength Training System, has refined modern sports science to emphasize the development and maintenance of flow-state. This state allows the athlete to respond openly and freely within a constantly changing situation.By combining my life long study of acting with my eight years of work with Coach Sonnon I am developing a system to teach actors the skill of cultivating flow. This work will enhance the actor's presence and ability to handle the stress of performance while developing a strong, supple, and coordinated psychophysical instrument. Video of examples of the exercises can be found in the accompanying materials.This work was created in Microsoft Word 2004 for Mac.

L’objectif de cette thèse est d’étudier les impacts de la régulation émotionnelle sur l’épuisement professionnel des soignants en gériatrie et plus particulièrement en mesurant les effets de la méthode Gineste et Marescotti. Lors d’une première étude, nous avons observé les états émotionnels psychologiques et physiologiques induits par deux séquences de film chez 25 sujets. Au cours de deux autres études, nous avons étudié les liens entre les régulations émotionnelles au travail, les variables de personnalité, les variables dispositionnelles et les variables contextuelles puis le rôle des régulations émotionnelles au travail dans la prédiction de la détresse psychologique chez 885 étudiants en IFSI et IFAS et dans la prédiction du burnout chez 157 professionnels en gériatrie. Enfin une quatrième étude nous a permis d’étudier les impacts de la méthode Gineste et Marescotti sur un échantillon de soignants en gériatrie. Les résultats montrent que la dissonance émotionnelle génère un stress signalé par une augmentation de la fréquence cardiaque. Le jeu en surface et le jeu en profondeur dépendent à la fois des caractéristiques de personnalité, des stratégies de régulations émotionnelles dispositionnelles et des prescriptions internes et externes, mais pas des stratégies de coping. De plus, le travail émotionnel contribue réellement à prédire le burnout mais pas la détresse psychologique. Enfin, la méthode agit sur les professionnels formés et satisfaits et plus spécifiquement sur le coping émotionnel, le jeu en surface, la demande psychologique, le burnout et le conflit de valeurs. La satisfaction associée à la capacité à mettre en œuvre la formation influence le burnout. / The objective of this thesis is to study the impact of emotion regulation on burnout in geriatric nursing, especially in measuring the effects of Gineste and Marescotti method. In a first study we observed the psychological and physiological emotional states induced by two movie clips in 25 subjects. In two other studies we investigated the relationship between emotional regulation at work, personality variables , dispositional variables and contextual variables and the role of emotional regulation at work in the prediction of psychological distress among 885 students IFSI and IFAS and the prediction of burnout among 157 professionals in geriatrics. Finally, a fourth study, we study the impacts of Gineste and Marescotti method on a sample of geriatric caregivers. The results show that emotional dissonance creates a stress indicated by an increase in heart rate. The surface acting and deep acting depend on both the characteristics of personality, emotional regulation strategies dispositional and internal and external requirements but not coping strategies. In addition, the emotional labour actually helps predict burnout but not psychological distress. Finally, the method is trained and satisfied on the level of emotional coping professionals, surface acting, psychological demand, burnout and conflict of values. Satisfaction associated with the ability to implement training influences burnout.

This thesis documents my research, rehearsal, and performance of the role of Alceste in Moliere’s The Misanthrope, which includes, a biography of Moliere, character analysis, role development, a rehearsal journal, character research, acting process, evaluation of my performance, and script analysis. The Misanthrope was produced by the UNO Department of Film and Theatre, under the direction of David W. Hoover. The play was performed in the Robert E. Nims Theatre of the Performing Arts Center September 17 - 19, 24 - 26 at 7:30pm, and September 27, 2015 at 2:30pm.

Two Rooms, by Lee Blessings, was selected for performance at the University of New Orleans during the fall of 2015. I studied and portrayed the role of Lainie Wells as my thesis project. The purpose of my thesis was to research a character physically, psychologically, and emotionally as an actress and create a character through the eyes of Lainie Wells. The following is a brief breakdown of the structure of my written thesis: biography of Lee Blessing, hostage families and their mental state as it relates to the Iranian hostage crisis, mass media effects on Syria, The Hunt for Bin Laden, the rehearsal process, and a scored script including all actions and objectives; a review of my work, my own conclusions based on my process and character arc, photographs of my performance, a professional headshot along with my resume to highlight the significance to my work as an artist.

The following thesis is a brief view of the 2017-2018 production of Marco Ramirez’s contemporary play The Royale, as produced by Theatre UNO, the theatre production arm of the University of New Orleans’ Department of Film & Theatre. This thesis will include initial responses, analysis, interpretation, production synthesis and communication, and reflection with conclusions on performance, directing, and pedagogy in academic theatre. This thesis is supported by documentation of the production process, including a scored script. The play was performed in New Orleans, Louisiana at the University of New Orleans Performing Arts Center’s Robert E. Nims Theatre, November 9-19, 2017; the University of New Orleans Performing Arts Center’s Soundstage, February 17, 2018; and in San Angelo, Texas at the Angelo State University’s Auditorium Theater, twice on March 2, 2018, as part of the Kennedy Center American College Theatre Festival, Region VI (KCACTF VI).

“The Ground On Which I Stand” Healing Queer Trauma through Performance: Crafting a Solo Performance through the investigation of Ritual Poetic Drama within the African Continuum. By: Ashley W. Grantham A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Performance Pedagogy at Virginia Commonwealth University Virginia Commonwealth University April 16th, 2019 Thesis Adjudicator: Dr. Tawnya Pettiford-Wates Committee: Dr. Keith Byron Kirk, Director of Graduate Studies and Karen Kopryanski, Head of Voice and Speech How does this method of Ritual Poetic Drama within the African Continuum, by extension, solo performance, uncover, heal queer trauma through witnessing and performance practice? How do these methods give us an intersectional approach to talking about race, identity, gender and bridge those divides? How does this devised work of solo performance allow the author as practitioner to claim the ground on which they stand and surrender to their own healing? This thesis attempts excavation of the foundational theories in regard to performance structure, and to discover how healing trauma through theoretical techniques achieves liberation through their enacted practice. This is an allowance of ourselves as artists and facilitators to claim our traumatic bodies as worthy sites of invention.