Com esse trabalho, investiga-se a noção de técnica em relação à função artística do ator, visando à ampliação do conhecimento sobre processos de ensino/aprendizagem da voz no teatro, principalmente, por meio do estudo da obra Freeing the Natural Voice, de Kristin Linklater comparando-a com as publicações de Jerzy Grotowski, referentes ao período de seu trabalho de 1965 a 1969. Entende-se \"o ator\" como um \"corpo que age em cena\". Por meio da elaboração da noção de \"corpo\" e \"voz\", em relação com o ambiente sociocultural, a técnica do ator é concebida como uma \"técnica corporal de transmissão\". Essa concepção ilumina a investigação e a comparação entre o pensamento de Linklater e Grotowski, inclusive as ideias-chave como a \"voz natural\", a \"organicidade\" e a \"via negativa\". O estudo possibilita a exposição da obra de Linklater, ainda pouca conhecida no Brasil, bem como a criação de novos processos para o ensino-aprendizagem da técnica vocal no teatro. / This work investigates the notion of technique in relation to the artistic function of the actor with a view to broaden knowledge about processes for teaching/learning voice for the theatre, principally through a study of the book Freeing the Natural Voice, by Kristin Linklater, in comparison with the publications of Jerzy Grotowski, that refer to the period of his work between 1965 e 1969. \"The actor\" is understood as \"a body that acts in a scenic space\" and, through the elaboration of the notion of \"body\" and \"voice\" in relation to the sociocultural environment, the \"actor\'s technique\" is conceived as \"a body transmission technique\". This conception illuminates the comparison of Linklater and Grotowski, including key ideas such as \"the natural voice\", \"organicity\" and the \"via negativa\". The study makes possible the exposition of Linklater\'s work in Brasil, where she is still little known, as well as the creation of new processes for the teaching/learning of vocal technique for the theatre.

Nesta dissertação observamos como atos de fala da classe dos diretivos se comportam em situações interacionais presentes em dois textos dramatúrgicos de Nelson Rodrigues, A Mulher sem Pecado (1993 [1941]) e Anti-Nelson Rodrigues (1993 [1973]) e quais as condições de felicidade foram necessárias para haver estas ocorrências. Como aporte teórico, utilizamos a Teoria dos Atos de Fala de John Searle (1981 [1969] e 2002 [1979]), usando, para tal, as condições de felicidade propostas em sua obra Os actos de fala (1981 [1969]) e as taxinomias apresentadas em seu segundo livro sobre a teoria, Expressão e Significado (2002 [1979]). Amparamos também nossa pesquisa nos estudos de Catherine Kerbrat-Orecchioni (1990; 1992; 1994 e 2006) no concernente aos processos interacionais, necessários para este trabalho. Nas interações analisadas, observamos o estabelecimento de tensões psicológicas cuja ocorrência se deu através da realização de atos de fala da classe dos diretivos (cf. Searle 2002 [1979]), atos estes, responsáveis pelo jogo de forças hierárquicas entre os interactantes que buscaram ocupar o posição alta da interação, como vemos nos Capítulos III e IV desta pesquisa. Os resultados obtidos foram satisfatórios, pois o autor apresenta marcas linguísticas enunciativas importantes em seus textos dramatúrgicos, deixando pistas relevantes para os atores quando de suas enunciações enunciadas e abre novos caminhos rumo à outras pesquisas acerca da verossimilhança enunciativa dos atuantes das artes cênicas, bem como proporciona aos estudos pragmáticos um novo campo de observações de fenômenos linguístico-enunciativo. / In this dissertation we observe how speech acts of the class of directors behave in interactional present situations in two dramaturgical texts of Nelson Rodrigues, The Woman without Sin (1993 [1941]) and Anti-Nelson Rodrigues (1993 [1973]) and the which conditions of happiness were required to occur on these events. As a theoretical framework we use the Theory of Speech Acts by John Searle (1981 [1969] and 2002 [1979]), using, for such happiness proposed conditions in his work The speech acts (1981 [1969]) and taxonomies presented in his second book on the theory, Expression and Meaning (2002 [1979]). also we admit on our research Catherine Kerbrat-Orecchioni\'s studies(1990, 1992, 1994 and 2006) regarding the interaction processes, that are needed for this paper. In the analyzed interactions, we observe the establishment of psychological tensions occurred by performing speech acts of the governing class (cf. Searle 2002 [1979]), these acts, responsible for the set of hierarchical power between interactants who sought to occupy the high position of the interaction, as we see in Chapters III and IV of this research. The results achieved were satisfactory, because the author presents important enunciative linguistic marks on their dramaturgical texts and left relevant clues for the actors when they set enunciations enuciated and open new ways towards other researches on the enunciative verisimilitude of active performing arts, as well as it provides to pragmatic studies a new field observations of enunciative linguistic phenomena.

Cette recherche s’inscrit dans la perspective de l’autoformation. Par le choix d’un contexte pluriculturel favorable, elle vise à identifier des formes d’intégration de la dimension expérientielle dans un agir enseignant. A partir d’une démarche réflexive, de l’analyse de données croisées selon la méthode d'analyse par théorisation ancrée, nous tentons ici de comprendre l’agir d’enseignants de Français langue étrangère en centre de langue à partir de nos propres expériences d’enseignant en milieu scolaire. Au niveau de la pratique, nous cherchons à comprendre comment s’agencent les multiples dimensions du métier. Nous interrogerons le rôle joué par la posture dans le déploiement des gestes professionnels. Nous mobiliserons l’approche biographique et herméneutique pour considérer le parcours professionnel et certaines des transactions réalisées par ces personnes. Seront ainsi éclairés leur mode d’entrée dans le métier et leur rapport d’appropriation avec celui-ci. Enfin, nous tenterons de formaliser ce qui pourrait être un agir enseignant expérientiel congruent. / This research fits in the framework of self-study. Through the particular choice of a multicultural context it aims to identify various integration forms within the experiential dimension of teachers' « acting ». Coordinating theory developing approach with a data analysis, it attempts to understand teachers of French as a foreign language's « acting » processes within schools of languages along with our own experiences as a teacher in primary schools. The focus is to comprehend the work practice multiple dimensions while questioning the posture adopted within professional « gestures ». To this end, a biographic and hermeneutics approach will be relied upon in order to access to the professionals career history as well as some of the teachers' transactions. This will highlight their entry into and progressive mastering of the profession. Finally, formalizing of an experiential and congruous teacher's acting will be developed.

Com esse trabalho, investiga-se a noção de técnica em relação à função artística do ator, visando à ampliação do conhecimento sobre processos de ensino/aprendizagem da voz no teatro, principalmente, por meio do estudo da obra Freeing the Natural Voice, de Kristin Linklater comparando-a com as publicações de Jerzy Grotowski, referentes ao período de seu trabalho de 1965 a 1969. Entende-se \"o ator\" como um \"corpo que age em cena\". Por meio da elaboração da noção de \"corpo\" e \"voz\", em relação com o ambiente sociocultural, a técnica do ator é concebida como uma \"técnica corporal de transmissão\". Essa concepção ilumina a investigação e a comparação entre o pensamento de Linklater e Grotowski, inclusive as ideias-chave como a \"voz natural\", a \"organicidade\" e a \"via negativa\". O estudo possibilita a exposição da obra de Linklater, ainda pouca conhecida no Brasil, bem como a criação de novos processos para o ensino-aprendizagem da técnica vocal no teatro. / This work investigates the notion of technique in relation to the artistic function of the actor with a view to broaden knowledge about processes for teaching/learning voice for the theatre, principally through a study of the book Freeing the Natural Voice, by Kristin Linklater, in comparison with the publications of Jerzy Grotowski, that refer to the period of his work between 1965 e 1969. \"The actor\" is understood as \"a body that acts in a scenic space\" and, through the elaboration of the notion of \"body\" and \"voice\" in relation to the sociocultural environment, the \"actor\'s technique\" is conceived as \"a body transmission technique\". This conception illuminates the comparison of Linklater and Grotowski, including key ideas such as \"the natural voice\", \"organicity\" and the \"via negativa\". The study makes possible the exposition of Linklater\'s work in Brasil, where she is still little known, as well as the creation of new processes for the teaching/learning of vocal technique for the theatre.

In the United Kingdom (UK) there is easy access to a wide range of contraceptive methods, available at no cost. In addition, oral emergency contraception (EC) (1.5 mg levonorgestrel) is now widely available from the community pharmacy. In spite of this, unintended pregnancy is common. In 2014 in England and Wales, 184,571 induced abortions were performed, and in Scotland, the corresponding figure was 11,475. Long acting reversible methods such as contraceptive implants and intrauterine contraception, are amongst the most effective methods available and National Institute for Health and Care Excellence (NICE) recommends that increased uptake can lead to fewer unintended pregnancies. However, uptake of long acting reversible contraceptive (LARC) methods remains low. The majority of women who require to use EC do so following unprotected sex or an accident with a condom. Increasingly women in Great Britain prefer to attend a pharmacy for EC rather than a sexual and reproductive health (SRH) service or general practitioner (GP). Starting an effective on-going method of contraception after EC use is clearly important if women are to avoid unintended pregnancy. Community pharmacists in the UK and most other high income countries are usually unable to provide any on-going contraception except condoms. So we have created a situation where EC is provided almost solely from settings where other more effective methods of contraception cannot be immediately provided. Novel strategies are therefore required to facilitate both uptake and continuation of the most effective methods of contraception, in order to prevent unintended pregnancy for more women. This thesis presents a mixture of biomedical, clinical and health services research to evaluate a series of strategies aimed at improving uptake of the most effective methods of contraception. Two studies investigated patient knowledge and information provision relating to contraceptive methods. The first sought to determine if women held misconceptions about intrauterine methods of contraception, and revealed that although myths persist in a small number of women, a lack of knowledge about these methods was also evident. The second study aimed to determine if the use of a digital video disc (DVD) to provide contraceptive information was acceptable and informative to women, and identified that it is, and could possibly enhance patient consultations. Studies three, four and five investigated strategies aimed at increasing the uptake of effective on-going contraception, following emergency contraception provided from a community pharmacy, and patient and health care provider attitudes to such approaches. They showed that simple interventions such as supplying one month of a progestogen only pill (POP), or offering rapid access to a family planning clinic (FPC), hold promise as strategies to increase the uptake of effective contraception after EC and that both women and clinicians were positive about such measures. Additionally, the problems encountered in conducting these studies provided valuable feedback to inform further development of research methods in the community pharmacy setting, and larger scale studies of such interventions. Community SRH services may be well placed to deliver more abortion care in the UK, and consequently this may result in greater uptake of contraception post abortion. Study six aimed to determine the views of health professionals working in SRH regarding their attitudes towards providing more abortion services and also the views of staff within one community SRH centre in Scotland where a service providing early medical abortion was due to commence. It showed there is clear support amongst health professionals in community SRH in the UK towards greater participation in provision of abortion care services.

Esta dissertação se propõe a investigar a função do ator e seu modelo de interpretação para o cinema, partindo de apropriações da pesquisa teatral. A partir do sistema de atuação criado por Konstantin Stanislavski, estabeleço uma trajetória de apropriações que se inicia concomitantemente ao desenvolvimento da linguagem cinematográfica, contemplando primeiramente a pesquisa dos cineastas russos Lev Kuleshov, Sergei Eisenstein e Vsevolod Pudovkin. Em um segundo momento, analiso como as ideias de Stanislavski chegaram nos Estados Unidos, influenciando tanto o teatro quanto o cinema americanos. A criação do Actors Studio e a formulação do \"Método\" americano de interpretação são abordadas sobretudo a partir das ideias de Elia Kazan e Lee Strasberg. Por fim, no Brasil, discorro sobre o projeto Prêt-à-Porter (1998 - 2011), criado por Antunes Filho, e sua influência na formação de toda uma geração de atores presentes na produção cinematográfica contemporânea. Nesse percurso que vai do teatro ao cinema, em certos momentos numa via de mão dupla, destaco os procedimentos que contribuíram para o processo de criação dos atores, e a forma como influenciaram sua expressão em ambas as áreas da criação artística. / This project aims at investigating the role of the actor and his/her model of acting for the screen, from a theatrical perspective. Starting with the System created by Konstantin Stanislavski, I establish a trajectory of appropriations, contemplating primarily the researches of Soviet filmmakers Lev Kuleshov, Sergei Eisenstein and Vsevolod Pudovkin. Then, I analyze the arrival of Stanislavski\'s ideas at the United States, and how they influenced both American theater and cinema. The creation of the Actors Studio and the formulation of the American Method of acting will be approached mainly through Elia Kazan and Lee Strasberg\'s ideas. Finally, in Brazil, I analyze the project Prêt-à-Porter (1998 - 2011), created by Antunes Filho, which influenced the formation of a whole generation of actors also present in contemporary film production. Thus, I highlight some procedures that highly contributed to the creative process of actors, from the stage to the screen.

Orientador: Wagner Francisco Araújo Cintra / Banca: Marianna Francisca Martins Monteiro / Banca: Mauro Roberto Rodrigues / Resumo: A proposta desse trabalho é promover uma reflexão acerca do encenador japonês Tadashi Suzuki (Japão, 1939-) no que diz respeito a sua contribuição para a arte do teatro e, mais especificamente, à questão da expressividade do ator. Suzuki parte da ideia da atuação como a expressão da consciência do ator numa investigação constante acerca da própria condição humana. Este trabalho pretende averiguar o papel do ator e a sua articulação com os demais elementos da poética cênica daquele que é considerado um dos maiores pensadores do teatro e da atuação na contemporaneidade / Abstract: The purpose of this work is to promote a reflection on the Japanese director Tadashi Suzuki (Japan, 1939-) as regards his contribution to the art of theatre and, more specifically, the issue of actor's expressiveness. Suzuki starts from the idea of performance as the expression of the actor's consciousness in a constant research about the human condition. This work intends to investigate the role of the actor and his relationship with other elements of poetic scenic of a man who is considered one of the greatest thinkers of theatre and performance in contemporary times / Mestre

Le travail théâtral (de 1994 à 2010) du metteur en scène allemand Thomas Ostermeier est ici étudié : à travers son parcours professionnel (de la période de sa formation à l’École Ernst-Busch à sa direction du théâtre de la Schaubühne de Berlin, en passant par celui de la Baracke), à travers ses choix esthétiques (sur le répertoire et la recherche de la narration, la revalorisation du récit, la direction d’acteurs, etc.) et ses collaborations principales avec le dramaturge Marius von Mayenburg et le scénographe Jan Pappelbaum, et à travers l’analyse des quatre représentations des pièces de l’auteur norvégien Henrik Ibsen : Une Maison de poupée (Nora) en 2002, Le Constructeur Solness en 2004, Hedda Gabler en 2005 et John Gabriel Borkman en 2008. Il en ressort le constat que le théâtre de Thomas Ostermeier résulte d’un subtil mélange d’influences diverses et variées, jusqu’alors souvent considérées comme opposées, contradictoires et incompatibles entre elles : les théories de Stanislavski, Meyerhold et Brecht coexistent et leurs procédés artistiques sont appliqués de façon complémentaire. Ceci est particulièrement visible dans le jeu des comédiens et, à l’appui et resitué dans les scénographies architecturées de Jan Pappelbaum, cet assemblage donne des œuvres artistiques d’un réalisme tout particulier, “contrarié”, qui devient même un signe distinctif du travail du metteur en scène, lequel a rencontré jusqu’à aujourd’hui un très grand succès public. / This thesis studies the theatrical work (from 1994 till 2010) of the German stage director Thomas Ostermeier: through his professional career (from the period of his studies at the Ernst-Busch School, to his direction of the Baracke Theater and later to that of the Theater of Schaubühne Berlin), through his aesthetic choices (concerning his repertoire, his search for the stories and for the narration, his directing of actors, etc.) and his major collaborations with the playwright Marius von Mayenburg and the set designer Jan Pappelbaum, and finally through the analysis of his four representations of the plays of the Norwegian playwright Henrik Ibsen: A Doll's house (Nora) in 2002, The Master Builder Solness in 2004, Hedda Gabler in 2005 and John Gabriel Borkman in 2008. The thesis shows that the theater of Thomas Ostermeier results from a subtle mixture of diverse and varied influences, until then often considered as opposite, contradictory and mutually incompatible: the theories of Stanislavski, Meyerhold and Brecht coexist and their artistic methods are applied in a complementary manner. This is particularly visible in the acting of the comedians and, while situated in the architectonical sets by Jan Pappelbaum, this mixture bears artistic works of a very particular, “perturbed” realism, which becomes even one of the distinguishing features of the work of Thomas Ostermeier, which met until today an important public success.

INTRODUCTION: Mortality associated with hepatitis C virus (HCV) infection is increasing, yet only a small percentage of HCV-infected individuals are aware of their infections, complete treatment, and achieve a cure, defined as a sustained virologic response. In March 2015, the Section of General Internal Medicine at Boston Medical Center (BMC), New England’s largest safety-net hospital, implemented the Adult Primary Care HCV Treatment and Triage Program to increase access to treatment. We are unaware of prior studies that have explored a pharmacist-centered primary care-based HCV treatment model in the era of newer direct-acting antiviral (DAA) medications. OBJECTIVES: To gain a deeper understanding of the roles of each program staff member, as well as an understanding of how primary care providers (PCPs) who refer patients to the program perceive and interact with the program. Such an understanding will help promote implementation and dissemination of the program. METHODS: We conducted in-depth semi-structured interviews with six staff members and with five PCPs in the Section of General Internal Medicine at BMC who refer patients to the program. We asked staff members about their roles and their perception of the program’s impact on patient linkage to HCV treatment. We probed PCPs about their experiences with HCV screening, referral, and follow-up processes, and differences in accessing HCV treatment for their patients prior to and following the implementation of the program. We audiotaped and transcribed interviews, and identified major themes through qualitative analysis. RESULTS: We identified five major themes that characterize how the HCV treatment program delivers care: 1) efficiency (“So here I feel like…they get evaluated…they get treated. Boom, it’s done”); 2) clear and open communication (“…one of the strengths of our program is that we have…a lot of direct contact with patients…”); 3) personalized medicine (“…I've set up the pill box for them [patients]…we tailor it to whatever they need”); 4) high patient engagement (“So if I get a referral for a patient…I call the patient three times. If I haven’t heard from the patient…I send them a letter and I tell the PCP”); 5) patient empowerment through education (“I think patient education is the best thing…if the patient is involved then… they’ll do what they need to do”). Additionally, the public health social worker and the pharmacist play key roles in the program. The social worker supports patients throughout treatment and addresses psychosocial barriers to treatment engagement (“I had a patient…who stopped taking his medication because his apartment was infested with bed bugs…[Social worker] got the patient furniture for free and got an exterminator…”). The pharmacist provides medication management during face-to-face patient visits (“…I go over everything imaginable...proper adherence…adverse effects, interactions…”). CONCLUSIONS: The HCV treatment program at BMC is a promising model to deliver HCV treatment to urban, underserved patient populations. Our findings suggest that public health social workers and pharmacists may be one approach to increasing access to HCV treatment in primary care settings in the era of DAA medications. Further study of the program’s efficacy in improving HCV outcomes is warranted.

Made available in DSpace on 2016-04-25T20:20:36Z (GMT). No. of bitstreams: 1 Lindomar Lili Sebastiao.pdf: 2103378 bytes, checksum: 8283435623be673321456a9c88ca1d0d (MD5) Previous issue date: 2012-04-17 / Fundação Ford / This work program of the Master of Social Sciences, Catholic University of Sao Paulo - PUCSP first contextualizes the Terena people in their historical trajectory from the output of the Paraguayan Chaco. The contact with Brazilian society to the present day, with the focus on the analysis of changes occurring in the cultural sphere of women's roles within their community Terena. Identify which elements were fundamental to this change, pointing to the functions and practices of women and their current social and political field in the village, absorbing new elements from outside, incorporating them into the cultural tradition as a sum. In the mid-nineties start an intensification of women's presence in discussions involving the internal issues. Participation in the sectors covering positions of command, such as associations of women presence in traditional leadership role in school education as teachers, principals of schools in the dual role: the school administration and articulating domestic and foreign policy, presence in universities and search the office of city councilor in the Brazilian national politics, giving a new signification of being a woman Terena / O presente trabalho de Mestrado do programa de Ciências Sociais da Pontifícia Universidade Católica de São Paulo PUCSP, primeiramente contextualiza o povo Terena em sua trajetória histórica desde a saída do Chaco Paraguaio. O contato com a sociedade brasileira até os dias atuais, dando o enfoque na análise das transformações ocorridas no âmbito cultural dos papéis da mulher Terena dentro de sua comunidade. Identifica quais elementos foram fundamentais para esta mudança da mulher no campo social e político da aldeia, apontando para as funções e práticas tradicionais e suas atuais, absorvendo novos elementos vindos de fora, incorporando-os à tradição como soma cultural. Em meados da década de noventa inicia-se uma intensificação da presença das mulheres nas discussões que envolvem as questões internas. A participação nos setores que abrangem cargos de comando, tais como as associações das mulheres, presença na liderança tradicional, atuação na educação escolar como professoras, diretoras de escolas no duplo papel: administração escolar e articuladora da política interna e externa, presença nas universidades e a busca pelo cargo de vereadora na política nacional brasileira, proporcionando uma nova ressignificação do ser mulher Terena