Esta pesquisa é o olhar, de uma atriz-sobrete, sobre a linguagem teatral desenvolvida desde 2003 na Cia. Os Fofos Encenam a partir do diálogo com a tradição do circo-teatro brasileiro. O ator e diretor Fernando Neves conduz o trabalho na Cia. e, ao longo dos anos, dedicou-se também ao trabalho pedagógico cujo eixo é a cena convencional que considera a especialização em determinado tipo de papel - como no antigo sistema de emplois; suspendendo, entretanto, a poética do teatro de convenção - para tomá-la como meio de manifestação de um temperamento artístico do ator. Tal procedimento situa o ator na exploração da linguagem teatral circense guiando a composição da personagem-tipo através da qual o ator, dispondo-se ao contato direto com o público, deverá operar a cena. O desenvolvimento deste processo, pedagógico e de criação, é abordado na presente pesquisa na intenção de refletir sobre o modo de operação de uma poética cênica convencional, revelando a dinâmica que a inspira e as estratégias do ator para operá-la, considerando o trabalho da Cia. Os Fofos Encenam em diálogo com a tradição do ator popular. / This study is the look of a sobrete actress about the theatrical language developed since 2003 by the company Os Fofos Encenam from the dialogue perspective with the brazilian drama-circus tradition. The actor and director Fernando Neves conducts the work of the group and, through the years, also devoted himself to the pedagogic work, which the pivot is the conventional scene that takes into consideration the specialization in a certain type of role - as in the old emploi system. Yet, the poetics of the theater of convention is suspended in order to be taken as means of manifestation of an artistic temperament of the actor. This procedure situates the actor in the exploration of the circus theatrical language guiding the type-character composition, through which the actor, making him/herself ready for direct contact with the audience, should operate the scene. This study approaches the development of this process, pedagogic and of creation, to reflect upon the modus operandi of the poetics of conventional scene, revealing the dynamics that inspires it and the actor\'s strategies to operate it, considering the work of the theater company Os Fofos Encenam in dialogue with the tradition of the popular actor.

Esta pesquisa é o olhar, de uma atriz-sobrete, sobre a linguagem teatral desenvolvida desde 2003 na Cia. Os Fofos Encenam a partir do diálogo com a tradição do circo-teatro brasileiro. O ator e diretor Fernando Neves conduz o trabalho na Cia. e, ao longo dos anos, dedicou-se também ao trabalho pedagógico cujo eixo é a cena convencional que considera a especialização em determinado tipo de papel - como no antigo sistema de emplois; suspendendo, entretanto, a poética do teatro de convenção - para tomá-la como meio de manifestação de um temperamento artístico do ator. Tal procedimento situa o ator na exploração da linguagem teatral circense guiando a composição da personagem-tipo através da qual o ator, dispondo-se ao contato direto com o público, deverá operar a cena. O desenvolvimento deste processo, pedagógico e de criação, é abordado na presente pesquisa na intenção de refletir sobre o modo de operação de uma poética cênica convencional, revelando a dinâmica que a inspira e as estratégias do ator para operá-la, considerando o trabalho da Cia. Os Fofos Encenam em diálogo com a tradição do ator popular. / This study is the look of a sobrete actress about the theatrical language developed since 2003 by the company Os Fofos Encenam from the dialogue perspective with the brazilian drama-circus tradition. The actor and director Fernando Neves conducts the work of the group and, through the years, also devoted himself to the pedagogic work, which the pivot is the conventional scene that takes into consideration the specialization in a certain type of role - as in the old emploi system. Yet, the poetics of the theater of convention is suspended in order to be taken as means of manifestation of an artistic temperament of the actor. This procedure situates the actor in the exploration of the circus theatrical language guiding the type-character composition, through which the actor, making him/herself ready for direct contact with the audience, should operate the scene. This study approaches the development of this process, pedagogic and of creation, to reflect upon the modus operandi of the poetics of conventional scene, revealing the dynamics that inspires it and the actor\'s strategies to operate it, considering the work of the theater company Os Fofos Encenam in dialogue with the tradition of the popular actor.

A trajetória de Eugênio Kusnet, de ator a professor, é o objeto deste projeto. Vamos averiguar que, desde quando retomou seus vínculos com o teatro no Brasil, Kusnet era um ator em formação, com pouca experiência artística no seu país de origem - a Rússia, de onde emigrou para o Brasil. Veremos que a compreensão da obra daquele que foi sua maior influência, Constantin Stanislavski, aconteceu de forma gradativa e observaremos de que modo ele a aplicou exemplarmente na encenação de Os Pequenos Burgueses no Teatro Oficina, na década de 1960. Destacaremos a viagem que Kusnet fez de volta a Rússia em 1968, que provocou nele mudanças que permaneceram entre suas inquietações até o final da vida. Vamos nos deter principalmente no que ele denominou como Método da Análise Ativa e investigar como aplicava este procedimento, no qual a direção e os atores de uma peça teatral abandonam os exaustivos estudos do texto sentados ao redor de uma mesa e passam a analisá-lo com as pernas, isto é, experimentando compreender a dimensão da obra teatral através de improvisações planejadas. Os três livros que deixou, principalmente o último, Ator e Método - que é para nós uma síntese dos dois anteriores (Iniciação à arte dramática e Introdução ao Método da Ação Inconsciente) - é o guia para entender o ponto de vista de Eugênio Kusnet, a tradução prática e teórica no Brasil dos elementos, procedimentos e princípios que ele absorveu de Stanislavski e dos discípulos que trabalharam ao lado do mestre russo / The object of this study is the trajectory of Eugênio Kusnet, from actor to professor. It will investigate that, since he had retaken his linkages with the brazilian theater, Kusnet was an ator in formation with little artistic experience in his homeland, Russia. We will see that the compreension of Constantin Stanislavski\'s work, his greatest influence, happened gradually. Starting from the Teatro Oficina\'s staging of Os Pequenos Burgueses in the sixties, we will observate how we aplied Stanislavski\'s method. This work gives a highlight on Kusnet\'s travel back to his homeland Russia in 1968, and the significant changes that this experience contribuied to his work until his final days. It will examine what he called \"Active Analyse Method\" and see how he applied this procedure, wich consist in abandoning the table-read (read-through) by the actors and the director and starting to analyse it \"with the legs\", or in other words, by experimeting the dimension of the theatrical work trough planned improvisation. The three books that he left, specially the last one, Ator e Método - wich is, by our comprehension, a synthesis of the former two (Iniciação à arte dramática e Introdução ao Método da Ação Inconsciente) - is the guide to understand Eugênio Kusnet\'s point of view, the practical and theoretical translation in Brasil of the elements, procedures and principles that he has absorbed from Stanislavski and the disciples that worked with the russian master

A autora conceitua e sistematiza a metodologia brasileira de sociopsicodrama Teatro de Reprise, criada em 1993 pelo Grupo Reprise, do qual era integrante. Diferencia a prática de seu método inspirador, o Playback Theatre (1975) americano, criado por Jonathan Fox, principalmente pelo acento na grupalidade, apresentando-a como facilitadora/mediadora de interação e aprendizagem para público adulto. Para tanto, define seus fundamentos baseado na abordagem sociopsicodramática de Jacob L. Moreno (1889-1974), na qual há um \"homem moreniano\" aludido, que possui um alto grau de espontaneidade, que cria sempre e que se orienta para a busca de uma utopia de saúde mental e social, que escape da doença social da cristalização e das conservas culturais. O trabalho descreve as inovações práticas e teóricas brasileiras do sociopsicodrama, especialmente quanto às noções de coconsciente, coinconsciente e de campo télico, e mostra as especificidades da modalidade Teatro de Reprise como uma intersecção entre o individual e o coletivo pela ressonância estética de seus ego-atores e ego-músicos. A partir dessa fundamentação, a autora constrói a conceituação e as diversas etapas do Teatro de Reprise, e exemplifica o impacto da transformação/aprendizagem grupal, resultante da utilização do método em organizações, políticas públicas, instituições etc. Além disso, uma intervenção demonstrativa com o uso do Teatro de Reprise e com um grande grupo, no espaço de um centro cultural em São Paulo, é relatada e processada pela leitura do fenômeno, no viés da sociodinâmica grupal. / The author defines and systematizes the Brazilian methodology of socio-psychodrama: Reprise Theatre, created in 1993 by the Reprise Group, of which she was a member. She distinguishes the practice from its motivational method, the American Playback Theatre (1975), created by Jonathan Fox, mainly due to the emphasis on groupality, presenting it as facilitator/mediator of interaction and learning for adult audiences. In order to do so, she defines its foundations based on the sociopsychodramatic approach of Jacob L. Moreno (1889-1974), in which there is a \"Morenian man\" alluded to, who has a high degree of spontaneity, who always creates and who is oriented towards the search for a utopia of mental and social health, who gets away from the social disease of crystallization and from the cultural preserves. This paper describes the Brazilian practical and theoretical innovations on sociopsychodrama, especially regarding the notions of co-conscious and co-unconscious states and of telic field. It shows the particularities of the modality Reprise Theatre as an intersection between the individual and the collective, by the aesthetic resonance of its ego-actors and ego-musicians. From this grounding, the author builds up the concepts and the various stages of the Reprise Theatre and exemplifies the impact of the group transformation/learning, resulting from the use of the method in organizations, public policies, institutions, etc. In addition, a demonstrative intervention with the use of the Reprise Theatre and with a large group in the space of a cultural center in São Paulo is reported and processed by reading the phenomenon, in bias of the group sociodynamics.

Not Dead At All is a nontraditional thesis, a creative product, the result of a combination of media production and social research. This paper is an attempt to explain the creative and production process behind the creation of an original media content, using the social research as a tool to increase the likeability of our characters and therefore increase the show’s chances of success.

Derrière tout acte il y a une sorte de « mise en scène », une « tentative d'exprimer » ce que l'auteur ne parvient à mettre en mots, à métaboliser, d'où le recours au primat de l'agir. Dans ce travail auprès d’Auteurs d’Infraction à Caractère Sexuel en intrafamilial, il est question de saisir, d'appréhender les conditions du passage à l'acte et ce que celles-ci ont pu engendrer au sein du psychisme du sujet, pour favoriser la transgression.À travers diverses notions tirées de la littérature analytique, notamment celles attenantes à la construction psychique, à la clinique du traumatisme ou encore de la transgénérationnalité, est mise en débat la question de l'influence de l’environnement sur le fait psychique individuel.Posant, de ce fait, l'hypothèse que les identifications et répétitions transgénérationnelles d’origines traumatiques peuvent être en jeu dans le passage à l'acte, en particulier chez les AICS en intrafamilial. Ce type de passage à l'acte pourrait-il alors représenter une résolution d'une dynamique familiale vécue comme « défaillante », voire traumatique, pour le sujet ? Dans une approche phénoménologique associée à une posture psychanalytique, sont déclinés sept accompagnements de patients nous permettant de répondre à ces interrogations. L'objectif étant de réaliser une étude clinique basée sur le vécu subjectif de chacun d’entre eux, afin de mettre en lumière ce qui pourrait faire défaut dans leur structuration, leurs investissements et rapports objectaux.Le voyage au travers des cas proposés permet de poser la question du caractère résolutif de ces passage à l’acte vis-à-vis d’une dynamique familiale, dans laquelle s’origine un vécu traumatique ? Par l’infraction sexuelle, perpétrée en intrafamilial, le sujet passe-t-il par le corps et l’objectalisation d’un autre familial pour crier sa souffrance, son « mal à être » ? Le passage à l’acte, chez ces Auteurs d’Infractions à Caractère Sexuel en intra-familial, est il résolutif d’une problématique identitaire traumatique, venant d’une nécessité de trouver un sens, une recherche de signifiance à l’existence même du sujet ? Via l'analyse des mécanismes de défenses, des représentations, ainsi que des positions transférentielles et contre-transférentielles mises en jeu, il s’agit de travailler la remise en sens, pour permettre à ces patients de développer leurs capacités d’élaboration, leur redonner une place, dans le respect de leur subjectivité et celle d’autrui, une place capable de supporter la construction identitaire originelle défaillante, retrouver une identité pour dépasser le traumatique, et ouvrir le chemin d’une reconstruction. / Behind every act there is a sort of "staging", an "attempt to express" what the author cannot put into words nor metabolize, which leads him to act. In this work, amoung Authors of Infringement of Sexual Character (AISC) within familial, the aim is to understand and apprehend the conditions that triggers the act and how they affected the subject's psyche, leading him to give into the transgression.Through notions taken from the analytic's literature, in particular notions linked to the psyche's construction, to traumatic clinic or even the transgenerational transmission, we debate on the question of the influence of the environment on the individual's psyche functionning. Thereby posing hypothesis that identifications and transgenerationals repeats of traumatic origin can contribute in triggering the act, even more for AISC within familial. Could this kind of acting out then represent the consequences of a family's dynamicity experienced as "failing", or even traumatic, by the subject? Using a phenomenologic approach associated with a psychoanalytic positioning, the thorough analysis of seven case-studies could help answer those questions. The objective is to create a clinic study based on the subjective experience of each of them. This is done in hope to bring forward what could lack in their structuring, in their objectals investments and relationships.This trip through the proposed cases allow the question of whether the resolvent nature of these acting out vis-à-vis a family's dynamicity in which a traumatic experience takes its roots? Through the sexual offence, perpetrated within the family, is the subject using the body and the objectisation of another family to shout out his suffering, his "ill-being"? Is the acting out, for Authors of Infringement of Sexual Character (AISC) within familial, a consequence of a traumatic identity crisis, the need to find a sense or the search to the meaning to the subject's own existence? Through the analysis of defense mechanisms, representations, transference and counter-transference positions put in place, the goal is to help rework the senses, allow those patients to develop their elaboration capability, to give them a place, with respect to their subjectivity and that of other, a place capable of sustaining the construction of their originally deficient identity, to rediscover an identity that surpasses the trauma, and open the gates of reconstruction.

One-Third of a Nation, the Second Amendment, a Living Newspaper Play Thesis By Linda Ann Watt for a MFA Degree in Theatre Pedagogy Documentary theatre, including living newspapers and verbatim theatre, use socio-political commentary at critical moments in history to disseminate facts and offer ideological critique dramatizing the crisis through the lens of emotion, which can incite societal change. This thesis explores this didactic medium with a written play about the second Amendment and gun violence.

This dissertation begins with a discussion of the rediscovery and rehabilitation of masks as tools of performance and pedagogy in Western theatre over the past century, considering the work of various theorists, directors, teachers and performers in whose work the mask occupies a significant position. Discussion then focuses on the development of the neutral mask as an object and as a paradigm of pedagogy for the actor over the past eighty years and undertakes a comparative investigation of the concept of neutrality as a performant state. The discussion takes in the teaching of Jacques Copeau, Etienne Decroux and Jacques Lecoq, and extends to the theories of Eugenio Barba, considering the possible parallels between Barba's 'pre-expressive' state and the state of neutrality which the mask assists to develop in the actor. The dissertation further proposes that the term 'performative liminality' is an appropriate term to adopt for this performant state, and makes this proposal with reference to the theories of anthropologist Victor Turner regarding the liminal state. The practice-as-research component of the project sought to investigate and document the various uses of the neutral mask and its application to the creative processes of the actor, and aimed to provide qualitative analysis and evaluation of the neutral mask when used in a developmental workshop environment. The dissertation contains a full account of the practice component of the project and details the processes used to investigate the neutral mask, offering analysis drawn from the inside experiences of the actors and the outside observations of the researcher. Within that analysis is a consideration of the neutral mask as a tool for developing the scenic presence of the actor. / Masters Thesis

In this article intercultural education is discussed, cases from the Danish upper secondary school are analyzed, and some requirements for further development are proposed. First definitions of the concepts communication, communicative action, intercultural communication and intercultural education are given. Starting from these definitions it is argued that intercultural communication as well as intercultural education is possible. Then two cases are analyzed. Finally – in the Discussion – it is underlined that the students’ metareflection on the context dependence of the knowledge construction process is a pivotal precondition for successful intercultural education.

Die Erkrankung Diabetes mellitus stellt eine wesentliche medizinische und ökonomische Her-ausforderung für das deutsche Gesundheitssystem dar. Weitgehend ungeklärt sind jedoch die Kostenunterschiede alternativer Behandlungsstrategien. In der vorliegenden Arbeit wurde die Wirtschaftlichkeit von Insulin glargin gegenüber relevanten Therapiealternativen bei Patien¬ten mit insulinbehandeltem Typ-2-Diabetes aus der Perspektive der deutschen GKV unter-sucht. Dazu wurden vier pharmakoökonomische Evaluationen mittels Kosten-Minimierungs-Ansatz auf der Basis von Studien- und Routinedaten durchgeführt. Die therapeutische Äqui-valenz der verglichenen Behandlungsverfahren wurde als gesichert vorausgesetzt. In allen vier Wirtschaftlichkeitsanalysen konnte die Kosteneffektivität von Insulin glargin ge-genüber relevanten Komparatoren gezeigt werden. Beim Vergleich der basalunterstützten ora-len Therapie (BOT) mit der prandialen Insulintherapie (SIT) ergaben sich auf Basis der APOLLO-Studie jährliche Pro-Kopf-Einsparungen in Höhe von 722 € zugunsten von Insulin glargin. Geringere Behandlungskosten zeigten sich auch gegenüber Insulin detemir in der BOT auf Basis der Rosenstock-RCT sowie in der Basal-Bolus-Therapie (ICT) auf Basis der Hollander-RCT. Die jährlichen Pro-Kopf-Einsparungen zugunsten von Insulin glargin betru-gen 486 € in der BOT und 684 € in der ICT. Schließlich ergab auch der Behandlungs¬kosten¬vergleich von Insulin glargin mit dem langwirksamen NPH-Insulin auf der Basis ambulanter Routinedaten niedrigere jährliche Behandlungskosten zugunsten von Insulin glargin. Die Ein-sparungen pro Patient und Jahr betrugen 198 € und waren unabhängig vom Behandlungsre-gime (BOT oder ICT). Die Ergebnisse der vorliegenden Arbeit unterstreichen den Stellenwert qualitätsgesicherter Wirtschaftlichkeitsanalysen zur rationalen Ressourcenallokation im Rahmen der Insulin¬therapie des Typ-2-Diabetes mellitus.