En posant le regard sur deux figures emblématiques du théâtre et du cinéma, choisies délibérément, Gérard Philipe et Isabelle Huppert, il ne s’agit pas d’un discours généraliste, ni d’une théorie sur l’acteur, mais plutôt de s’appuyer sur leurs traces en essayant d’analyser les interviews recueillis dans les principaux supports médiatiques qui tentent de dévoiler leur personnalité et l’idéal vers lequel ils tendent, sachant que tous deux émergent après des évènements historiques majeurs : d’un côté la fin de la seconde guerre mondiale laissant une France dévastée en quête d’égérie dont Gérard Philipe sera l’exemple, de l’autre mai 1968 et ses bouleversements au niveau des mœurs, amenant à l’avènement de la nouvelle vague. Le défi à relever fut de comparer un acteur disparu il y a plus d’un demi-siècle avec une actrice contemporaine. Leur grande maturité professionnelle s’est avérée déterminante dans la poursuite des concepts qu’ils défendent. Leur recherche personnelle est perceptible au travers de l’évolution de leur carrière et laisse indéniablement un écho médiatique, pouvant se rapprocher d’une dimension mythologique de l’acteur.Il est ici question d’une analyse comparative pour tenter de comprendre comment leur personnalité qui caractérise leur jeu, entre réserve et don de soi, intuition et réflexion, leur a permis d’enchaîner les rôles tout au long de leur vie en alternant le théâtre et le cinéma. / Considering two deliberately selected figureheads of the theatre and of the cinema, Gérard Philipe and Isabelle Huppert, the purpose is not to draw up a general speech, or a theory on the actor, but rather to rely on their tracks and try to analyze the main media interviews attempting to unveil their personality and expectations amidst major historical events : on one hand, the end of World War 2 with a devastated France in pursuit of a new inspiring spirit that will be embodied by Gérard Philipe, and, on the other hand, (the students' revolution of) May 1968 with drastic changes in standards of behaviour that will lead to the coming of "The New Wave".The challenge was to compare an actor, who left us half a century ago, with a contemporary actress. Their great professional maturity proved to be the determining factor towards their ideal.Their personal research appears through the evolution of their career and undoubtedly leaves a media echo that can be linked to the mythological dimension of the actor.The question is to analyze and compare to try and understand how their personality, characterizing their way of acting, between reserve and self giving, intuition and reflection, allowed them, throughout their life, to play one part after the other, alternately for the theatre and the cinema.

Olu phando lugqale kubalinganiswa abafunzele ukuzibulala kwimidlalo ekhethiweyo yesiXhosa. Kwisahluko sokuqala ngumkhombandlela wolu phando, intshayelelo, injongo yophando, ubume besifundo namagqabantshintshi ngentyila bomi zababhali endicaphule kwiincwadi zabo namagama angundoqo. Kwezinye izahluko ingcingane ezahlukeneyo nalapho endingabalula ekaFreud isayikho-analisisi ndinaba ngokubanzi kumabakala awabekileyo afana nokuzalwa, isini, odiphasi khompleksi nephupha nenxaxheba yakhe ekugubhululeni okuyimfihlakalo ngokuthi aphande ubomi bomntu obadlulayo ukuze kubenokunyangwa impixano ekuye ngaphakathi. Enye ingcingane esetyenzisiweyo yile ingokuzibulala nalapho kuphononongwa ukuba ngobani abazibulalayo, abaqinisekileyo ngokufa kwabo, ukuzibulala ngesivumelwano nembalelwano abazishiyayo xa umntu ezibulala. Kwezinye izahluko ndiyibeka icace intsusa neziphumo zokuzibulala kwamaxhoba, ndayiphicotha nendlela ekuxhatshazwe ngayo amalungelo abalinganiswa ngabazali babo kuba benyanzela le mitshato yebhaxa ngenjongo yokuzuza ikhazi ngentombi zabo, nayo imixholo enxulumene nolu phando ndiyicaphule imixholo efana neyothando noqhankqalazo nomxholo wokutshatiswa kwabantwana ngebhaxa. Isahluko sesihlanu ngumqukumbelo jikelele nophononongo ngolu phando.

This thesis draws the line of a rise and a fall, an ironic pattern whereby the English stage of the long eighteenth century, in its relation to Shakespeare in particular, first acquired powerful influence, and then, through the very effects of that power, lost it. It also shows what contemporary literary criticism might learn from the activities that constitute this arc of evolution. My first chapter interrogates the relationship between text and performance in vernacular writings about acting and editing from the death of Betterton in 1710 to the rise of Garrick in the middle decades of the century. From the status of a distinct tradition, performance comes to rely on text as a basis for the intimate, personal engagement with Shakespeare believed necessary to the work of the sentimental actor. Such a reliance grants the performer new potential as a literary critic, but also prepares a fall. The performer becomes another kind of reader, and so is open to accusations of reading badly. My second chapter analyses the evolving definition of Shakespeare as a dramatic author from Samuel Johnson onwards. An untheatrical definition of the dramatic (Johnson's) is answered by one which recognises the power and vitality of the stage, especially in its representation of sympathetic character (Montagu and Kenrick). Yet that very recognition leads to a set of altered critical priorities in which the theatre is, once more, relegated (Morgann and Richardson). My third and fourth chapters consider the practices and critical implications of theatrical performance of Shakespeare during Garrick's career. I focus on the acting of emotion, the portrayal of what Aaron Hill called 'the very Instant of the changing Passion', and show that performance of this time, attentive to the striking moment and the transitions that power it, required from the actor both attention to the text and preternatural control over his own emotions. In return, it allowed Garrick and others to claim a special affinity with Shakespeare and to capture the public's attention, both in the theatre and outside it. Yet this situation, that of 'twin stars', does not last. French and German responses to English acting, the concern of my last chapter, show its decline particularly well. They also, however, show the power that existed in such a union between page and stage, and equal weight is given in both my third and my fourth chapter to how the theatrical-literary insights of eighteenth-century critical culture might also illuminate modern approaches.

En el proceso de comunicación diario, respetamos diversas prácticas y roles convencionales, en un sentido de interacción (de comportamientos, actitud, conducta, imagen) con otros. En el caso del actor profesional, además de la interacción en su vida cotidiana, debe trabajar también en su personaje con los de la obra a encarnar, desarrollando una capacidad de interactuar una variedad de roles semejantes a los de su vida cotidiana, al punto de tornar autónomo al personaje que encarna, convirtiéndose en un experto de la interacción. Dicha autonomía se genera durante los procesos de construcción del personaje al emplear métodos que procuran hacerlo creíble para la puesta en escena a representar. Dichos métodos, provienen de las corrientes de actuación moderna, muy empleadas entre los actores profesionales contemporáneos dada la flexibilidad del método, y suelen llevarlos a posibles confusiones entre su andar cotidiano, y su propio trabajo dramatúrgico. El objetivo de este trabajo es llegar a comprender la complejidad del proceso de comunicación en el quehacer profesional del actor, veremos a través de la investigación, que los actores profesionales corren el riesgo de desdoblar el personaje que interpretan a la dimensión de su vida diaria. / Trabajo de investigación

A journey in metaxis explores the facilitation of drama workshops using an adaptation of Theatre of the Oppressed, a participatory drama process used with high school students, teachers and others in the community. New possibilities of engagement open up as knowing emerges through a variety o f forms of dramatic action which are simultaneously the medium, subject and re-presentation of research. As a theatre pedagogue I explore how knowing and meaning emerge through theatre and in the interplay between my life and my work. Writing, then reading, narratives of my practice engages me in a conversation that helps me draw attention to my practice. Diverse roles and points of view of the drama facilitator begin to become apparent as these narratives speak through a spiralling process of shared experiences. Commentaries on these experiences lead to discussions of the implications of this inquiry for other forms of reflective leadership practice in drama and in education. Particular attention is placed on the role of the body and mind (bodymind) of facilitator and participants as they journey into an increasing awareness of senses, histories, the landscapes worked in, and the relationships that intertwine through the constant ebb and flow of the drama workshop. Using a framework that parallels the drama workshop I facilitate, I play with forms of texts, languages and styles to enter into the text(ure) of the worlds of facilitation so that we may come face to face with kinaesthetic and discursive experiences remembered and reconsidered. Writing my body into this exploration enables me to become mindfully aware of, and extends and transforms, my practice. I re-awaken the memory of my senses and re-connect with them in the moments of "performing" my teaching. Such poetic and expressive writing enables an evocation of the world of drama. Writing from and through a sensing body means that reflection on practice becomes not merely reporting experiences, but also celebrating and expressing the multi-vocal, multi-layered events that develop drama facilitation skills. Writing, then reading, about this process of coming to know my identity-in-process as a drama facilitator enables the interpretation, interrogation and transformation of how one becomes facilitator, "making the way as we go," (re)writing/performing our presence. / Education, Faculty of / Language and Literacy Education (LLED), Department of / Graduate

This study investigated the subjectively constructed narratives of individual change for lead persons in a Therapeutic Enactment (Westwood, Keats & Wilensky, in press). Narrative investigation of Therapeutic Enactment to date has not been conducted and, as such, the study is important to the field of counselling psychology and the further development of Therapeutic Enactment. In terms of both theory and practice the study expands our understanding of the complexities of the change process in Therapeutic Enactment. It also provides the unique personal contexts related to change and it provides concrete examples of what actually changes in the lives of lead persons in Therapeutic Enactment. In this study, the co-researchers consisted of 4 female lead persons and 2 male lead persons, who had taken part in their own Therapeutic Enactment at a residential retreat on the outskirts of Vancouver, British Columbia, Canada. The co-researchers were interviewed in-depth using person-centred narrative interviewing techniques, combined with semi-structured interview questions. Five narratives were written in the first person focusing on the subjective experience of individual change in Therapeutic Enactment. Each narrative was returned to the respective co-researcher for editing and validation at which point co-researchers removed portions of the narratives they did not want included in the study and then added or amended content that they did want to be included in the study. The principal researcher made the requested changes and then returned final copies of the narratives to each of the co-researchers. The final narratives are presented herein. The co-constructed narratives indicate that lead persons in Therapeutic Enactment experienced change on six general levels including body sensations, emotions, behaviours, thoughts, relationships and spiritual connection. This study provides an in-depth examination of the subjective narratives of individual change in Therapeutic Enactment. / Arts, Faculty of / Psychology, Department of / Graduate

Através do cruzamento de referenciais teóricos com a observação das estruturas do campo artístico atual na cidade de Porto Alegre – RS (Brasil), a presente pesquisa tem por objetivo compreender a articulação dos artistas na construção de suas trajetórias dentro do contexto da produção local. Tomando como objeto de análise o discurso e os posicionamentos de agentes exemplares inseridos em diferentes segmentos estratégicos de atuação no cenário, foi gerado um modelo analítico que é aplicado e desenvolvido com base em teorias oriundas, por exemplo, da Sociologia e da Comunicação. Além de questionar as instâncias de legitimação vigentes, pretende-se com este estudo a geração de uma maior abertura ao debate em torno deste assunto tão polêmico e pouco discutido. / Through the intersection of theoretical studies and the observation of the art structure field these days in the city of Porto Alegre - RS (Brazil), this research aims to shed a light about the relationships among the artistic agents who build their careers within the context of the local production. Taking the speech and the way that exemplar agents place themselves at different segments of strategy in the scenario as an object of analysis, an analytical model was developed and applied based on theories derived from, for example, Sociology and Communication. Besides questioning the current legitimacy instances, this study aims to generate a greater openness to debate on this controversial issue.

Orientador: Sara Pereira Lopes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T11:32:50Z (GMT). No. of bitstreams: 1 Dias_SolangeAparecida_M.pdf: 591855 bytes, checksum: a7ea566046fe5b6a694d172738ab7647 (MD5) Previous issue date: 2007 / Resumo: Esta dissertação visa resgatar o processo de escrita e encenação de Cantos Periféricos, do grupo Teatro da Conspiração, de Santo André, entre 2002 e 2004. Será analisado de como foi elaborado o texto a partir da observação e a pesquisa sobre roteiros de cinema e notícias do cotidiano de uma periferia, onde a desconstrução narrativa do enredo serviu como base. Também será analisado o processo de montagem do texto sob o ponto de vista de uma dramaturga-encenadora na sua relação com o ator, através dos workshops de criação, depoimentos pessoais, noções do teatro-dança e partituras de ações físicas. Pretendo com esse registro refletir sobre uma experimentação que serviu para compreensão dos procedimentos de uma montagem cênica, que teve como base tendências contemporâneas da linguagem, como a fragmentação e a descontinuidade. / Abstract: This dissertation ains on retrieving the writing and staging process of 'Cantos Periféricos' staged by Santo André group 'Teatro da Conspiração' between 2002 and 2004. It will analyze the text elaboration from observation and researching of movie scripts and news from everyday life at poor suburbs, where the narrative deconstruction of the plot served as base. It will also analyze the text elaboration process from the point of view of a playwright-theater director in her relation with the actor, by means of creation workshops, personal accounts, dance-theater basic knowledge and body action partituras. With this record, I intend to reveal the experimentation that served to the comprehension of scenic staging procedures and that was based on contemporary tendencies of language, as fragmentation and discontinuity. / Mestrado / Mestre em Artes

Orientador: Ana Cristina Colla / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T21:27:34Z (GMT). No. of bitstreams: 1 Barros_IsisAndreatta_M.pdf: 3785426 bytes, checksum: ec95e47558acf1536541571a67dfb058 (MD5) Previous issue date: 2015 / Resumo: Este trabalho tem como ponto de partida explorar atravessamentos entre a Mímesis Corpórea, metodologia desenvolvida pelo Lume Teatro de Campinas, e a criação em Dança Contemporânea: O que há de mímesis na dança? O que há de dança na mímesis? Nos questionamos também se o contato com procedimentos da mímesis poderia fomentar disparadores teórico-práticos para a criação em dança. Ou qual seria a relevância desse levantamento para a dança na contemporaneidade. E para a minha dança. O interesse foi imergir em um processo investigativo cuja prática se pautou, especialmente, por uma experimentação individual, pessoal e solitária, culminando no desenvolvimento do experimento cênico intitulado "autorretrato em movimento". Assumindo a prática corporal como principal disparadora dos processos reflexivos, este texto contém o exercício de recriação dos laboratórios individuais em forma de escrita, mapeando as principais ressonâncias que o processo criativo suscitou. Nesse sentido, fez-se necessário traçar uma cartografia dos percursos de vida que alimentam esta pesquisa, reconhecendo o trabalho desenvolvido pelo Grupo Vão, coletivo de dança contemporânea do qual faço parte, como principal zona de imbricação da prática artística. Ao final, o trabalho assume como principal pressuposto a busca por um corpo que dança a experiência de "ser outros" a partir do contato com as próprias pulsões, ou seja, o "olhar para o outro" compreende, necessariamente, o "olhar para si". E considerando o movimento dançado fruto da relação de contágio entre o artista e o mundo, um dos interesses foi identificar o caráter autobiográfico da dança contemporânea para, então, reconhecer o corpo que dança sob a noção de uma identidade não fixa / Abstract: The starting point of this work is the exploration of the crossings between Body Mimesis, methodology developed by Lume Teatro de Campinas, and creation in Contemporary Dance: What is there of mimesis in dance? What is there of dance in mimesis? We also question if the contact with mimesis procedures could promote theoretical and practical triggers for creating in dance. In addition, what is the relevance of this survey to contemporary dance? What about my dance? The interest was to immerse in an investigative process, which practice was an individual, personal and lonely trial, culminating in the development of scenic experiment entitled "self-portrait in motion". Assuming body practice as the main triggering of reflective processes, this text contains the exercise of recreating individual laboratories in the form of writing, mapping the main resonances raised by the creative process. In this sense, it was necessary to draw a map of the life paths that feed this research, recognizing the work of Grupo Vão, contemporary dance collective to which I belong, as the main nesting area of artistic practice. Finally, this work takes as its main assumption the search for a body that dances the experience of "being others" as from the contact with its own instincts. In other words, "looking at others" includes necessarily "looking at oneself". In addition, considering danced movement as fruit of contagion between the artist and the world, one of the concerns was to identify the autobiographical aspect of contemporary dance and then recognize the dancing body under the notion of a non-fixed identity / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-14T11:30:12Z No. of bitstreams: 1 mariadiomaradasilva.pdf: 1683129 bytes, checksum: 1d7d2f1086e3675e5fb98e7ddf56c333 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-14T15:49:40Z (GMT) No. of bitstreams: 1 mariadiomaradasilva.pdf: 1683129 bytes, checksum: 1d7d2f1086e3675e5fb98e7ddf56c333 (MD5) / Made available in DSpace on 2015-12-14T15:49:40Z (GMT). No. of bitstreams: 1 mariadiomaradasilva.pdf: 1683129 bytes, checksum: 1d7d2f1086e3675e5fb98e7ddf56c333 (MD5) Previous issue date: 2015-04-14 / A minha constituição de espaço de vida e formação durante a infância, adolescência e fase adulta no lugar reconhecido como favela foi a força motriz que gerou em mim inquietações, interesses e motivações para desenvolver esta pesquisa. Neste trabalho, busquei apresentar uma pesquisa que procurou mostrar o desenvolvimento linguístico e a produção dos saberes de crianças e adolescentes moradores do bairro onde vivi, no qual um projeto denominado Curumim está inserido, desenvolvido pela Associação Municipal de Apoio Comunitário – AMAC, da Prefeitura Municipal de Juiz de Fora, no Estado de Minas Gerais. O objetivo foi investigar se as oficinas de teatro, como as do Curumim, ofereciam contribuições efetivas para o desenvolvimento da competência comunicativa dos alunos. O caminho para a coleta de dados durante as oficinas aconteceu por meio das anotações no diário de campo, questionários de crenças, questionário socioeconômico e gravação eletrônica em áudio. Esses materiais instrumentalizaram a coleta dos dados e fizeram parte de uma amostra que constituíram o corpus que compôs essa pesquisa. A oficina de teatro não é uma aula de português tradicional de língua portuguesa, no entanto, enquanto gênero textual, o teatro atende a diversos aspectos que podem auxiliar um trabalho voltado para uma reflexão sobre a língua, por meio dos princípios da Sociolinguística Educacional, principalmente contemplando um trabalho através de uma pedagogia culturalmente sensível (BORTONI-RICARDO, 2004) capaz de levar até as crianças dessa comunidade, possibilidades de ampliar sua competência de linguagem. Além disso, as oficinas trazem consigo características que são essencialmente próprias do contexto sociocultural das crianças, pois, as atividades realizadas partem daquilo que é significativo para elas. / My constitution of life space and my formation during childhood, adolescence and adulthood at a slum was the driving force that created in me concerns, interests and motivation in order to develop this research. In this work, I aimed at presenting the development of a research which sought to show the linguistic development and the production of children’s and adolescent’s knowledge living in the neighborhood where I lived, where there is a social project called Curumim developed by Associação Municipal de Apoio Comunitário – AMAC, by Juiz de Fora Mayor, Minas Gerais. The goal was to investigate whether the acting classes, such as the ones offered by Curumim, would offer effective contributions for the development of the communicative competence of students. The route to collect the data during the classes occurred by the notes on the field diary, beliefs questionnaires; socioeconomic questionnaires and audio electronic recording. These resources equipped the data collection and took part in a sample that constituted the corpus which composed this research. The acting class is not a traditional Portuguese class, however, as a textual genre, it includes several aspects that are able to help to develop a work inclined to reflect about the language, through the principles of Educational Sociolinguistics, mainly contemplating a work through a culturally sensitive pedagogy (BORTONI-RICARDO, 2004) able to take to the children from this community possibilities of enlarging their language competence. Furthermore, the classes bring characteristics that are essentially specific of children’s sociocultural context, because the activities are conducted from what is significative for them.