During times of organisational change and restructuring, employees, are often placed in acting positions. Consciously, organisations frame their reasons for this practice as preparing the system for a new strategy, organisational structure, work distribution and leadership challenges. This implies that the conscious reasons for using acting as a human resources practice may not be sound, leading to a question about the possibility of unconscious collusions operating in the system. From an unconscious perspective, it can be hypothesised that this practice represents how organisations respond to its unprocessed unconscious anxieties inherent to change, transformation and adapting to new ways of thinking, operating and functioning. This research was done using systems psychodynamics as theoretical paradigm and theory, offering a depth-psychology organisational theory, OD consultancy and qualitative research stance which differentiate between conscious and unconscious. The unconscious contains anxiety against which the system defends, specifically, by using dependence, fight/flight, pairing, me-ness and we-ness. Role identity consists of the normative, existential and phenomenal roles. If the three role parts are similar, anxiety is contained and bearable. When there are splits between the three role parts, persecutory and paranoid anxiety exists. The acting professionals’ normative role was relatively clear. In their existential role they introjected confusion, uncertainty, splits about their competence, doubt in their own authority, shame, and conflict in their view of the other. In their phenomenal role they received projections from the organisation about incompetence and denigration. The findings indicated how acting professionals experienced different kinds and intensities of anxiety. They got confused about their primary task, and the differences between their normative, existential and phenomenal roles caused high levels of performance anxiety. They struggled to manage their personal and work boundaries and the system de-authorised them by withholding information and feedback about their contribution to the organisation and their acting tenure. Acting professionals experienced being seduced by the power of the organisation, their careers being placed on hold, and being bullied by the systemic illness and toxicity in the organisational. It was concluded that the organisational system unconsciously uses acting positions as a psychodynamic container of organisational change anxiety. / Industrial & Organisational Psychology / Ph.D. (Consulting Psychology)

No description available.

第一線服務人員與顧客接觸時，往往必須在工作中表現特定的情緒，進行所謂的情緒勞動。本研究主要目的是探討工作者進行情緒勞動時，其情緒勞動方式（表層偽裝與深層偽裝）的影響因素（組織承諾與情緒覺察）與其結果（工作倦怠三構面：情緒耗竭、去人性化、個人成就感，以及人際關係品質）間的關係，了解服務人員「組織承諾」與「情緒覺察」之高低是否與其在情緒勞動方式的使用程度有所關連；亦探討情緒勞動方式的使用程度與工作倦怠三構面、人際關係品質問是否有不同的關連。本研究以223位銀行行員為對象，採用問卷調查（自我評量與他人評量）的方式，進行假設之驗證。 研究結果發現組織承諾、情緒覺察與表層偽裝皆無顯著的關連性，而深層偽裝與組織承諾、情緒覺察間則呈現顯著的正相關。另一方面則發現表層偽裝僅與個人成就感則呈正相關，與情緒耗竭、去人性化無顯著的相關，此結果並未支持預期的假設；然而深層偽裝與情緒耗竭、去人性化呈現負相關，而與個人成就感呈現正相關，則部分支持假設;最後發現人際關係品質與兩種情緒勞動方式無關，並未支持假設。 最後針對研究發現進行分析討論，並提出研究建議，以供未來相關研究與工商企業的應用參考。 關鍵字：情緒勞動、表層偽裝、深層偽裝、組織承諾、情緒覺察、工作倦怠。 / When front-line service employees confronted with customers, they have to exhibit particular affective displays, so-called emotional labor. Regarding emotional labor, the purpose of present study was to investigate the relationships between two ways of acting (i.e. surface acting and deep acting), antecedents (i.e. organization commitment and emotion awareness), and the consequences.(i.e. emotional exhaustion, depersonalization, personal accomplishment, and the quality of interpersonal relationship). Specifically, the study examined the relationships between two ways of acting with organization commitment and emotion awareness. Moreover, the relationships between two ways of acting with emotional exhaustion, depersonalization, personal accomplishment, and the quality of interpersonal relationship were examined. To test the hypotheses, self-report and other-rating data were collected from 223 bank clerks through questionnaires. The results suggested that surface acting did not have significant correlation with organization commitment and emotion awareness while deep acting had significant positive correlation with organization commitment and emotion awareness. Contradicting with expectation, surface acting was found to be positively correlated with personal accomplishment, but no significant relationship was found between surface acting with emotional exhaustion and depersonalization. On the other hand, deep acting was found to have significant negative relationship with emotional exhaustion and depersonalization, and positive relationship with personal accomplishment. Finally, neither surface acting nor deep acting had significant relationship with quality of interpersonal relationship. Implications for future research and service work were also discussed at the end. Key word : emotional labor, surface acting, deep acting, organization commitment, emotion awareness, emotional exhaustion, depersonalization, and personal accomplishment

This thesis examines the implementation of an actor-training programme in the context of Spanish drama schools during 2004-2005. Reflecting through the student's practice as well as my own practice as a teacher, actor and director, I investigate how a bodymind training based on martial arts disciplines and designed by Phillip Zarrilli may contribute to understand the theory and the practice of an actor's use of the imagination as Michael Chekhov proposes it. Core questions arise from the evaluation of what is the professional knowledge that the integration of both systems of training brings to the students. The action of research is placed in how the process of learning such competencies take place and become informative of both the research and the acting practice. The concept of acting is being analysed by looking at the significance of the actor's imagination from a phenomenological rather than a psychological perspective. The discussion includes the challenge that developing a new pedagogy in a drama school brings up to a better understanding of contemporary paradigms of theatre practice and education.'Interpretación Gestual' is since 1992 an established branch in the Real Escuela Superior de Arte Dramático de Madrid (RESAD). Acting in physical (gestural) theatre conveys some problematic issues concerning its theory and practice within both professional and pedagogical contexts. Implementing a new and specific teaching programme for the preparation of professional actors in the context of the RESAD urges me to clarify inpractice certain issues about these two different approaches to actor training, as well as their presence in today's education within the curriculum of official drama schools in Spain.

This thesis explains the acting method used by Caleigh Keith while portraying the role of Nancy Shedman in Romulus Linney’s Holy Ghosts. Included are chapters of historical research, character analysis, and a production report, which includes a scored script, rehearsal and performance journal, and a self-evaluation of the actor’s work. Holy Ghosts was produced by Theater UNO at the University of New Orleans in the Robert E. Nims Thrust Theater of the Performing Arts Center. It opened Tuesday, February seventh, and ran through Sunday, February twelfth, two thousand and twelve. Evening performances were at seven-thirty and Sunday’s matinee was at two o’clock in the afternoon.

Emotions are a part of social work, and how the employees manage and process them can affect the quality of the services that they provide. It is therefore of importance to explore how social workers can manage and process their emotions and which support and possibilities to do so their organizations provide. This study is based on Hochschild´s theory of emotional labour, using her concept deep acting and surface acting. The aim of this study has been to examine similarities and differences in managing emotions between two different social work practices, one social services unit and one treatment unit. In order to explore this we conducted two focus group interviews, one at each unit. The study showed that both units were affected emotionally by their work and the actions of their clients. The treatment unit appears to primarily use deep acting and the social services unit appears to primarily use surface acting. The need to process their emotions is fulfilled in both places, primarily through collegial support and because they themselves creates the time to process, but the organization does not create any specific space for this.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-29T14:09:27Z No. of bitstreams: 1 Josanne Araujo.pdf: 1095887 bytes, checksum: 79387ec157260146986713e5c23d118b (MD5) / Approved for entry into archive by Maria Auxiliadora Lopes(silopes@ufba.br) on 2013-06-12T18:58:02Z (GMT) No. of bitstreams: 1 Josanne Araujo.pdf: 1095887 bytes, checksum: 79387ec157260146986713e5c23d118b (MD5) / Made available in DSpace on 2013-06-12T18:58:02Z (GMT). No. of bitstreams: 1 Josanne Araujo.pdf: 1095887 bytes, checksum: 79387ec157260146986713e5c23d118b (MD5) Previous issue date: 2005 / Esta tese registra e analisa parte das linguagens presentes e exploradas em quatro espaços escolares tidos como comunitários uma vez que tivemos como objetivo geral analisar as linguagens presentes e exploradas nos espaços escolares-comunitários, elementos constitutivos da prática social e cotidiana, identificando comportamentos verbalizados que caracterizam: o agir heterônomo ou o agir autônomo ou ainda o agir heterônomo que evolui para o agir autônomo. Nossa intenção é chamar a atenção da comunidade e dos educadores interessados na proposta de educação-comunitária, para a compreensão de que escola-comunitária deve ser, por natureza, a escola que se preocupa em estabelecer linguagens e relações sociais que privilegiam o contato e a aproximação com a comunidade, entendendo que educar é um ato político, o conhecimento configura-se como resultado das relações que dialetizamos, e educação-comunitária deve ser a educação que privilegia as linguagens que expressam um viver/agir autônomo, dialético e comunicativo, observando e trabalhando as necessidades pedagógicoeducativas da comunidade, comprometendo-se com a construção coletiva de projetos e propostas nascidos dos interesses coletivos. Para tanto, escolhemos a metodologia descritivo-explicativa e utilizamos técnicas qualitativas e quantitativas para explorar, convenientemente, os dados oriundos da pesquisa. Investigamos 4 comunidades e procuramos ouvir os pais e responsáveis pelas crianças e adolescentes matriculados nas 4 escolas da amostra, sendo uma em cada comunidade e procuramos ouvir as gerentes administrativo-financeiras e as professoras que tinham formação em Magistério do 1º Grau. Os resultados da pesquisa apontam para duas realidades distintas: A primeira destas realidades diz respeito a duas escolas que estão distantes das comunidades a que servem, pois não procuram desenvolver linguagens e trabalhos pedagógico-educativos voltados para as necessidades das suas respectivas comunidades, tendo sido constatado que as linguagens e as relações sociais pautavam-se numa construção de viver/agir heterônomo, anti-dialógico e estratégico, caracterizado por expressões/comportamentos de negação/impedimento do reconhecimento do outro, da experiência do diálogo, da liberdade de expressão, da possibilidade de entendimento, do estabelecimento de cooperação e do respeito à identidade/diversidade cultural dos sujeitos. A segunda destas realidades diz respeito a duas outras escolas que estão em sinergia com as comunidades a que servem, procurando desenvolver linguagens e trabalhos pedagógico-educativos voltados para as necessidades das suas respectivas comunidades. Observamos que as linguagens e as relações sociais pautavam-se por uma procura constante de construir um viver/agir autônomo, dialógico e comunicativo, caracterizado por expressões/comportamentos que privilegiavam o reforço/permissão de reconhecimento do outro, da experiência do diálogo, da liberdade de expressão, da possibilidade de entendimento, do estabelecimento da cooperação e do respeito à identidade/diversidade cultural dos sujeitos. O trabalho apresenta sugestões para o cotidiano pedagógico-educativo da escola-comunitária, buscando demonstrar que é possível aos sujeitos envolvidos neste processo apoiar-se em uma comunicação que objetive e subjetive o conhecimento, colaborando para o desenvolvimento da cultura humana, orientando os alunos para a construção da autonomia, dialogando e experienciando a defesa de suas idéias, discutindo, argumentando e contra-argumentando. / Salvador

During times of organisational change and restructuring, employees, are often placed in acting positions. Consciously, organisations frame their reasons for this practice as preparing the system for a new strategy, organisational structure, work distribution and leadership challenges. This implies that the conscious reasons for using acting as a human resources practice may not be sound, leading to a question about the possibility of unconscious collusions operating in the system. From an unconscious perspective, it can be hypothesised that this practice represents how organisations respond to its unprocessed unconscious anxieties inherent to change, transformation and adapting to new ways of thinking, operating and functioning. This research was done using systems psychodynamics as theoretical paradigm and theory, offering a depth-psychology organisational theory, OD consultancy and qualitative research stance which differentiate between conscious and unconscious. The unconscious contains anxiety against which the system defends, specifically, by using dependence, fight/flight, pairing, me-ness and we-ness. Role identity consists of the normative, existential and phenomenal roles. If the three role parts are similar, anxiety is contained and bearable. When there are splits between the three role parts, persecutory and paranoid anxiety exists. The acting professionals’ normative role was relatively clear. In their existential role they introjected confusion, uncertainty, splits about their competence, doubt in their own authority, shame, and conflict in their view of the other. In their phenomenal role they received projections from the organisation about incompetence and denigration. The findings indicated how acting professionals experienced different kinds and intensities of anxiety. They got confused about their primary task, and the differences between their normative, existential and phenomenal roles caused high levels of performance anxiety. They struggled to manage their personal and work boundaries and the system de-authorised them by withholding information and feedback about their contribution to the organisation and their acting tenure. Acting professionals experienced being seduced by the power of the organisation, their careers being placed on hold, and being bullied by the systemic illness and toxicity in the organisational. It was concluded that the organisational system unconsciously uses acting positions as a psychodynamic container of organisational change anxiety. / Industrial and Organisational Psychology / Ph.D. (Consulting Psychology)

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-27T21:42:29Z No. of bitstreams: 2 ELEMENTOS PRETEXTUAIS_final revisado 15abr2013.pdf: 151459 bytes, checksum: 7f22b52092feb4cceafb79049b5abace (MD5) A PARTITURA DE AÇÕES COMO DISPOSITIVO_Dissertação Final Revisada 15abr2013.pdf: 1269922 bytes, checksum: d53bdc1fe1690436b4a4f77e19325aca (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-28T19:00:20Z (GMT) No. of bitstreams: 2 ELEMENTOS PRETEXTUAIS_final revisado 15abr2013.pdf: 151459 bytes, checksum: 7f22b52092feb4cceafb79049b5abace (MD5) A PARTITURA DE AÇÕES COMO DISPOSITIVO_Dissertação Final Revisada 15abr2013.pdf: 1269922 bytes, checksum: d53bdc1fe1690436b4a4f77e19325aca (MD5) / Made available in DSpace on 2018-08-28T19:00:20Z (GMT). No. of bitstreams: 2 ELEMENTOS PRETEXTUAIS_final revisado 15abr2013.pdf: 151459 bytes, checksum: 7f22b52092feb4cceafb79049b5abace (MD5) A PARTITURA DE AÇÕES COMO DISPOSITIVO_Dissertação Final Revisada 15abr2013.pdf: 1269922 bytes, checksum: d53bdc1fe1690436b4a4f77e19325aca (MD5) / Esta dissertação se inscreve no campo das artes cênicas, debruçando-se sobre o trabalho do ator por meio da análise de Partituras de Ações, aqui consideradas como dispositivo de criação e composição. A pesquisa descreve e analisa um processo no qual a pesquisadora está inserida como atriz, portanto, não se faz de maneira distanciada e impessoal, embora mantenha o rigor acadêmico necessário à sua realização. Para tanto, foi realizado um estudo de caso, tomando o espetáculo Dorotéia do grupo Panacéia Delirante sob direção de Hebe Alves, obra que tem como um de seus pilares o desempenho cênico das atrizes por intermédio desse dispositivo. Duas unidades de análise foram utilizadas visando demonstrar como o dispositivo Partitura age no desempenho das atrizes no espetáculo: a Corporalidade posta em evidência no espetáculo e o Estado de Jogo que se estabelece entre as atrizes em cena. Além disso, foram analisados registros em fotografia e vídeo do espetáculo, bem como depoimentos concedidos pelo elenco de Dorotéia. Entrecruzando esse material com aspectos conceituais da pesquisa, pretendeu-se chegar a respostas para as perguntas Como o jogo e a corporalidade servem à estruturação da partitura entendida como um dispositivo? e De que maneira esses dois elementos são articulados na composição de desempenho das atrizes?. O objetivo da pesquisa foi analisar o espetáculo sob a lente do dispositivo – com suas linhas de força e curvas de visibilidade, tal como apresentado por Michel Foucault e desenvolvido por Gilles Deleuze. Este esforço se justifica na medida em que uma compreensão não-cartesiana, rizomática e que, portanto, evita a rigidez de conceitos preestabelecidos é importante ferramenta para compreender a práxis do artista, no caso, o artista cênico. Desse modo, torna-se possível abrir novas leituras que incluam os aspectos de risco, improvisação, tensão, prazer, interatividade, imaginação e subjetividade, sem cair em formulações baseadas apenas no senso comum ou amparadas numa concepção de partitura entendida como puramente instrumental. Dentre os resultados alcançados destacam-se a compreensão da corporalidade e do estado de jogo como curvas de visibilidade e linhas de força do dispositivo, responsáveis por possibilitar a ação dos processos de sobredeterminação funcional e preenchimento estratégico que ocorrem na partitura; e o entendimento de que, por meio da ótica do dispositivo, a partitura pode ser discutida de maneira mais rigorosa e sistematizada em estudos sobre o desempenho do artista cênico. / This work falls within the field of performing arts, leaning over the actor's work by analyzing Action Scores, considered here as a device for creation and composition. The research describes and analyzes a process in which the researcher is insertedas an actress. Therefore, it is not a distanced and unbiased one, but still maintains the necessary academic rigour for their production. To this end, we conducted a case study, using the play Dorotéia, by the Panacéia Delirante group, under the direction of Hebe Alves, a work that has, as one of its pillars, the scenic performance of the actresses through this device. Two analysis units were used in order to demonstrate how the Score device works regarding the performance of the actresses in the show: the Corporality evidenced in the show, and the Game State established between the actresses on scene. In addition, we analyzed the play’s photo and video recordings, as well as testimonies given by the cast of Dorotéia. By combining this material with the research’s conceptual aspects, we intended to answer the questions: How do the game and corporality serve to structure the Score as a device? and How are these two elements articulated in the composition of the actresses’ performance?. The objective of the research was to analyze the performance under the scope of the device – with its lines of powerand curves of visibility, as presented by Michel Foucault and developed by Gilles Deleuze. This effort is so far justified as a non-Cartesian, rhizomatic understanding – that therefore escapes the rigidity of pre-established concepts. Such is an important tool for understanding the artist's (in this case, the scenic artist’s) praxis. Thus, it becomes possible to open new interpretations to include the aspects of risk, improvisation, tension, pleasure, interactivity, imagination and subjectivity without falling into formulations solely based on common sense or supported by a concept of an Action Score understood as purely instrumental. Among the achieved results, the understanding of corporality and the game state as visibility curves and power lines of the device stand out. They are responsible for possibilitating the action of the processes of functional overdetermination and strategic filling that occur in the Action Score. Another conclusion that can be taken from this case study is the understanding that, through the optical device, the Action Score can be discussed in a more rigorous and systematized method regarding the scenic artist’s performance.

nÃo hà / Esta dissertaÃÃo examina e expÃe a reflexÃo de Paul Ricoeur relativa aos elementos constitutivos da textualidade e a aplicaÃÃo destes componentes do texto à esfera do agir humano. A anÃlise das proposiÃÃes ricoeurianas toma como ponto de partida consideraÃÃes histÃricas que descrevem a passagem das prÃticas interpretativas, vinculadas principalmente à exegese e à filologia, para uma hermenÃutica de cunho verdadeiramente filosÃfica. Neste Ãmbito, examinamos o empenho de Schleiermacher em elevar o compreender alÃm das regras particulares de interpretaÃÃo; de Dilthey em incorporar ao ato hermenÃutico a importÃncia do encadeamento histÃrico para as ciÃncias do espÃrito; de Heidegger em interpor ao procedimento epistemolÃgico as condiÃÃes ontolÃgicas do prÃprio compreender; de Gadamer em demonstrar o acesso à verdade por vias nÃo necessariamente objetivantes do conhecimento. Dessa crÃtica gadameriana aos pressupostos da ciÃncia moderna, posta em termos do debate entre experiÃncia de pertenÃa e distanciamento alienante, Ricoeur faz sobressair a sua prÃpria concepÃÃo, na qual a textualidade à demonstrada como paradigmÃtica no que concerne à historicidade da experiÃncia humana. Segundo as teses ricoeurianas a aÃÃo humana, assim como o texto, contÃm uma proposiÃÃo de sentido que vai alÃm da intenÃÃo de seu agente ou, no caso da escrita, do seu autor, e que poderà ser efetuada em um contexto diferente daquele em que foi criada originalmente. / Esta dissertaÃÃo examina e expÃe a reflexÃo de Paul Ricoeur relativa aos elementos constitutivos da textualidade e a aplicaÃÃo destes componentes do texto à esfera do agir humano. A anÃlise das proposiÃÃes ricoeurianas toma como ponto de partida consideraÃÃes histÃricas que descrevem a passagem das prÃticas interpretativas, vinculadas principalmente à exegese e à filologia, para uma hermenÃutica de cunho verdadeiramente filosÃfica. Neste Ãmbito, examinamos o empenho de Schleiermacher em elevar o compreender alÃm das regras particulares de interpretaÃÃo; de Dilthey em incorporar ao ato hermenÃutico a importÃncia do encadeamento histÃrico para as ciÃncias do espÃrito; de Heidegger em interpor ao procedimento epistemolÃgico as condiÃÃes ontolÃgicas do prÃprio compreender; de Gadamer em demonstrar o acesso à verdade por vias nÃo necessariamente objetivantes do conhecimento. Dessa crÃtica gadameriana aos pressupostos da ciÃncia moderna, posta em termos do debate entre experiÃncia de pertenÃa e distanciamento alienante, Ricoeur faz sobressair a sua prÃpria concepÃÃo, na qual a textualidade à demonstrada como paradigmÃtica no que concerne à historicidade da experiÃncia humana. Segundo as teses ricoeurianas a aÃÃo humana, assim como o texto, contÃm uma proposiÃÃo de sentido que vai alÃm da intenÃÃo de seu agente ou, no caso da escrita, do seu autor, e que poderà ser efetuada em um contexto diferente daquele em que foi criada originalmente.